Process of creation Spotting The composer usually enters the creative process towards the end of filming, at around

the same time as the film is being edited, although on some occasions the composer is on hand during the entire film shoot, especially when actors are re quired to perform with or be aware of original diegetic music. The composer is s hown an unpolished "rough cut" of the film, before the editing is completed, and talks to the director or producer about what sort of music is required for the film in terms of style and tone. The director and composer will watch the entire film, taking note of which scenes require original music. During this process t he composer will take precise timing notes so that he or she knows how long each cue needs to last, where it begins, where it ends, and of particular moments du ring a scene with which the music may need to coincide in a specific way. This p rocess is known as "spotting".[4] Occasionally, a film maker will actually edit his film to fit the flow of music, rather than the other way around, which is the norm. Director Godfrey Reggio ed ited his films Koyaanisqatsi and Powaqqatsi based on composer Philip Glass's mus ic.[5] Similarly, the relationship between director Sergio Leone and composer En nio Morricone was such that the finale of The Good, the Bad and the Ugly[6] and the films Once Upon a Time in the West and Once Upon a Time in America were edit ed to Morricone's score as the composer had prepared it months before the film's production ended. Also, the finale of Steven Spielberg's E.T. the Extra-Terrest rial was edited to match the music of his long-time collaborator John Williams: as recounted in a companion documentary on the DVD, Spielberg gave Williams comp lete freedom with the music and asked him to record the cue without picture; Spi elberg then re-edited the scene later to match the music. Less frequently, a composer will be asked to write music based on his or her imp ressions of the script or storyboards, without seeing the film itself, and is gi ven more freedom to create music without the need to adhere to specific cue leng ths or mirror the emotional arc of a particular scene. This approach is usually taken by a director who does not wish to have the music comment specifically on a particular scene or nuance of a film, and which can instead be inserted into t he film at any point the director wishes during the post-production process. Com poser Hans Zimmer was asked to write music in this way in 2010 for director Chri stopher Nolan's film Inception;[7] composer Gustavo Santaolalla did the same thi ng when he wrote his Oscar-winning score for Brokeback Mountain.[8] Writing Once the spotting session has been completed and the precise timings of each cue determined, the composer will then work on writing the score. The methods of wr iting the score vary from composer to composer; some composers prefer to work wi th a traditional pencil and paper, writing notes by hand on a staff and performi ng works-in-progress for the director on a piano, while other composers write on computers using sophisticated music composition software such as Digital Perfor mer, Logic Pro, Cubase or Protools.[9] Working with software allows composers to create MIDI-based demos of cues, called MIDI mockups, for review by the filmmak er prior to the final orchestral recording. The length of time a composer has to write the score varies from project to proj ect; depending on the post-production schedule, a composer may have as little as two weeks, or as much as three months to write the score. In normal circumstanc es, the actual writing process usually lasts around six weeks from beginning to end. The actual musical content of a film score is wholly dependent on the type of fi lm being scored, and the emotions the director wishes the music to convey. A fil m score can encompass literally thousands of different combinations of instrumen ts, ranging from full symphony orchestral ensembles to single solo instruments t

o rock bands to jazz combos, along with a multitude of ethnic and world music in fluences, soloists, vocalists, choirs and electronic textures. The style of the music being written also varies massively from project to project, and can be in fluenced by the time period in which the film is set, the geographic location of the film's action, and even the musical tastes of the characters. As part of th eir preparations for writing the score the composer will often research differen t musical techniques and genres as appropriate for that specific project; as suc h, it is not uncommon for established film composers to be proficient at writing music in dozens of different styles. Orchestration Once the music has been written, it must then be arranged or orchestrated in ord er for the ensemble to be able to perform it. The nature and level of orchestrat ion varies from project to project and composer to composer, but in its basic fo rm the orchestrator's job is to take the single-line music written by the compos er and "flesh it out" in to instrument-specific sheet music for each member of t he orchestra to perform. Some composers, notably Ennio Morricone, orchestrate their own scores themselves , without using an additional orchestrator. Some composers provide intricate det ails in how they want this to be accomplished, and will provide the orchestrator with copious notes outlining which instruments are being asked to perform which notes, giving the orchestrator no personal creative input whatsoever beyond renotating the music on different sheets of paper as appropriate. Other composers are less detailed, and will often ask orchestrators to "fill in the blanks", pro viding their own creative input into the makeup of the ensemble, ensuring that e ach instrument is capable of performing the music as written, and even allowing then to introduce performance techniques and flourishes to enhance the score. Over the years several orchestrators have become linked to the work of one parti cular composer, often to the point where one will not work without the other. Ex amples of enduring composer-orchestrator relationships include Jerry Goldsmith w ith Arthur Morton, Alexander Courage and Herbert W. Spencer; Miklos Rozsa with E ugene Zador; Alfred Newman with Edward Powell, Ken Darby and Hugo Friedhofer; Da nny Elfman with Steve Bartek; David Arnold with Nicholas Dodd; Basil Poledouris with Greig McRitchie; and Elliot Goldenthal with Robert Elhai. Others have becom e orchestrators-for-hire, and work with many different composers over the course of their careers; examples of prominent film music orchestrators include Pete A nthony, Jeff Atmajian, Brad Dechter, Bruce Fowler, John Neufeld, Thomas Pasatier i, Conrad Pope, Nic Raine and J.A.C. Redford. Once the orchestration process has been completed, the sheet music is physically printed onto paper by one or more music copyists, and is ready for performance. Recording When the music has been composed and orchestrated, the orchestra or ensemble the n performs it, often with the composer conducting. Musicians for these ensembles are often uncredited in the film or on the album and are contracted individuall y (and if so, the orchestra contractor is credited in the film or the soundtrack album). However, some films have recently begun crediting the contracted musici ans on the albums under the name Hollywood Studio Symphony after an agreement wi th the American Federation of Musicians. Other performing ensembles that are oft en employed include the London Symphony Orchestra, the City of Prague Philharmon ic Orchestra (an orchestra dedicated exclusively to recording), and the Northwes t Sinfonia.[citation needed] The orchestra performs in front of a large screen depicting the movie, and somet imes to a series of clicks called a "click-track" that changes with meter and te mpo, assisting the conductor to synchronize the music with the film.[10]

More rarely, the director will talk to the composer before shooting has started, so as to give more time to the composer or because the director needs to shoot scenes (namely song or dance scenes) according to the final score. Sometimes the director will have edited the film using "temp (temporary) music": already publ ished pieces with a character that the director believes to fit specific scenes. Elements of a film score Temp tracks In some instances, film composers have been asked by the director to imitate a s pecific composer or style present in the temp track.[11] On other occasions, dir ectors have become so attached to the temp score that they decide to use it and reject the original score written by the film composer. One of the most famous c ases is Stanley Kubrick's 2001: A Space Odyssey, where Kubrick opted for existin g recordings of classical works, including pieces by composer Gyrgy Ligeti rather than the score by Alex North,[12] although Kubrick had also hired Frank Cordell to do a score. While North's 2001 is indeed a major example, it is not the sole case of well-known rejected scores. Others include Torn Curtain (Bernard Herrma nn),[13] Troy (Gabriel Yared),[14] Peter Jackson's King Kong (Howard Shore)[15] and The Bourne Identity (Carter Burwell).[16] Structure Films often have different themes for important characters, events, ideas or obj ects, an idea often associated with Wagner's use of leitmotif.[17] These may be played in different variations depending on the situation they represent, scatte red amongst incidental music. An example of this technique is John Williams' sco re for the Star Wars saga, and the numerous themes associated with characters li ke Darth Vader, Luke Skywalker, and Princess Leia Organa (see Star Wars music fo r more details). Other examples are Italian composers Stefano Lentini and oscar' s winner Ennio Morricone. [18] The Lord of the Rings trilogy uses a similar tech nique, with recurring themes for many main characters and places. Others are les s known by casual moviegoers, but well known among score enthusiasts, such as Je rry Goldsmith's underlying theme for the Borg in Star Trek: First Contact, or hi s Klingon theme from Star Trek: The Motion Picture which other composers carry o ver into their Klingon motifs, and he has brought back on numerous occasions as the theme for Worf, Star Trek: The Next Generation's most prominent Klingon.[cit ation needed] Michael Giacchino employed character themes in the soundtrack for the 2009 animated film Up, for which he received the Academy Award for Best Scor e. His orchestral soundtrack for the television series Lost also depended heavil y on character and situation-specific themes. In 1983, a non-profit organization, the Society for the Preservation of Film Mus ic, was formed to preserve the "byproducts" of creating a film score:[19] the mu sic manuscripts (written music) and other documents and studio recordings genera ted in the process of composing and recording scores which, in some instances, h ave been discarded by the movie studios. The written music must be kept to perfo rm the music on concert programs and to make new recordings of it. Sometimes onl y after decades has an archival recording of a film score been released on CD. Source music Most films have between 40 and 120 minutes of music. However, some films have ve ry little or no music; others may feature a score that plays almost continuously throughout. Dogme 95 is a genre that has music only from sources within a film, such as from a radio or television. This is called "source music" (or a "source cue") because it comes from an on screen source that can actually be seen or th at can be inferred (in academic film theory such music is called "diegetic" musi c, as it emanates from the "diegesis" or "story world").[20] An example of "sour ce music" is the use of the Frankie Valli song "Can't Take My Eyes Off You" in M ichael Cimino's "The Deer Hunter". Alfred Hitchcock's 1963 thriller The Birds is an example of a Hollywood film with no non-diegetic music whatsoever.

Historical notes Before the age of recorded sound in motion pictures, efforts were taken to provi de suitable music for films, usually through the services of an in-house pianist or organist, and, in some cases, entire orchestras, typically given cue sheets as a guide. In 1914, The Oz Film Manufacturing Company sent full-length scores b y Louis F. Gottschalk for their films. Other examples of this include Victor Her bert's score in 1915 to The Fall of a Nation (a sequel to The Birth of a Nation) and Camille Saint-Sans' music for The Assassination of the Duke of Guise in 1908 . It was preceded by Nathaniel D. Mann's score for The Fairylogue and Radio-Play s by four months, but that was a mixture of interrelated stage and film performa nce in the tradition of old magic lantern shows.[21] Most accompaniments at this time, these examples notwithstanding, comprised pieces by famous composers, als o including studies. These were often used to form catalogues of film music, whi ch had different subsections broken down by 'mood' and/or genre: dark, sad, susp ense, action, chase, etc. German cinema, which was highly influential in the era of silent movies, provide d some original scores such as Fritz Lang's movies Die Nibelungen (1924) and Met ropolis (1927) which were accompanied by original full scale orchestral and leit motific scores written by Gottfried Huppertz, who also wrote piano-versions of h is music, for playing in smaller cinemas.[citation needed] Friedrich W. Murnau's movies Nosferatu (1922 - music by Hans Erdmann) and Faust eine deutsche Volkssa ge (1926 - music by Werner Richard Heymann) also had original scores written for them. Other films like Murnau's Der letzte Mann contained a mixing of original compositions (in this case by Giuseppe Becce) and library music / folk tunes, wh ich were artistically included into the score by the composer. Nevertheless full y developed original scores were quite rare in the silent movie era. When sound came to movies, director Fritz Lang barely used musical scores in his movies any more. Apart from Peter Lorre whistling a short piece from Edvard Grieg's Peer Gy nt, Lang's movie M - Eine Stadt sucht einen Mrder was lacking musical accompanime nt completely and Das Testament des Dr. Mabuse only included one original piece written for the movie by Hans Erdmann played at the very beginning and end of th e movie. One of the rare occasions on which music occurs in the movie is a song one of the characters sings, that Lang uses to put emphasis on the man's insanit y, similar to the use of the whistling in M. Though "the scoring of narrative features during the 1940s lagged decades behind technical innovations in the field of concert music,"[22] the 1950s saw the ris e of the modernist film score. Director Elia Kazan was open to the idea of jazz influences and dissonant scoring and worked with Alex North, whose score for A S treetcar Named Desire (1951) combined dissonance with elements of blues and jazz . Kazan also approached Leonard Bernstein to score On the Waterfront (1954) and the result was reminiscent of earlier works by Aaron Copland and Igor Stravinsky with its "jazz-based harmonies and exciting additive rhythms."[22] A year later , Leonard Rosenman, inspired by Arnold Schoenberg, experimented with atonality i n his scores for East of Eden (1955) and Rebel Without a Cause (1955). In his te n-year collaboration with Alfred Hitchcock, Bernard Herrmann experimented with i deas in Vertigo (1958), Psycho (1960), and The Birds (1963). The use of non-dieg etic jazz was another modernist innovation, such as jazz star Duke Ellington's s core for Otto Preminger's Anatomy of a Murder (1959). A full film score widely regarded[by whom?][citation needed]as the first made by a popular artist came in 1973 with the film Pat Garret and Billy the Kid, by Bo b Dylan. However the album received very little critical acclaim. This had not b een done before in popular film history as featured bands had films written arou nd their music such as in the animation Yellow Submarine with music by The Beatl es.