Solist og ensemble

Filmmusik er et holdarbejde. Arbejdssituationen er anderledes end komponisten er vant til fra sit normale arbejde med musikken.

Musik kan som kunstart stå alene. Det er musikkens normale tilstand og komponisten er kongen i musikkens rige. Han er den enevældige, der dikterer, bestemmer og skriver lovene. Men i filmens verden er komponisten med i regeringsrådet, loven er fortællingen og instruktøren eller producenten er præsident.

Derfor er det afgørende, at komponisten kender de forskellige måder man arbejder med fortælling på i film. Man bliver nødt til at kende lovene der styrer fortællingen. Der findes flere forskellige narrative redskaber, der bliver brugt til at udvikle historier og analysere sig frem til problemer i fortællingen. Kig f.eks på Den naturlige historie, eller Heltens rejse.

“The Social network” Holdarbejde på settet. Dette er hvad mange forstår ved “at optage en film” – masser af mennesker, kaos og beslutninger om detaljer. Filmkomponistentens hverdag er anderledes. Lange dage foran computeren, enkelte dage med screeninger, møder og diskussioner, andre dage indspilninger.

Komponistens tætteste samarbejdspartnere ligger typisk i reproduktionen og er Instruktøren, klipperen, producenten, produceren, evt music editor og sound editor. Desuden kan der være nogen der tager sig af grafik og titelsekvens/rulletekster og andre special områder.

Derudover arbejder komponisten sammen med sit eget hold som kan bestå af musikere, mixer, arrangører/orkestratorer/nodeskrivere, sangskrivere/tekstforfattere, computertekniker, programmør, musicmanager, music contracter, advokat/revisor osv.

En god aftale

Det er vigtigt at forsøge at sætte sig ind i hvordan magtstrukturerne er i den organisation som producerer filmen. Hvem er det f.eks der har den endelig godkendelse af musikken? Er det kun instruktøren eller skal produceren også have godkendt musikken? Og hvordan ved man om musikken er godkendt? Aftal en procedure for hvordan I arbejder og godkender musikken og skriv aftalen ind i kontrakten:

Her er et grundigt eksempel på hvordan en sådan aftale kan se ud:

• Composer’s obligations

1. 1. The Composer shall compose and write an original music score, including main and end title themes for the Series (“the Music”). In addition, the Composer shall arrange, orchestrate and record the Music (“the Recordings”). Both technically and artistically the Music and the Recordings shall be of the highest quality as is customary within the TV-industry and of such duration as the Composer, the Director and the Producer may reasonably agree.
   2. The Music shall be delivered and produced within the framework defined by the Producer and the Director in accordance with the production schedule, post production plan and Art. 3 below. The Composer shall continuously deliver draft sketches of the Music as required by the Producer and the Director. The Producer/Director shall give their feedback to the Composer on the basis of the delivered files, and to the extent necessary require additional draft sketches from the Composer. The Producer and the Director shall approve the final sketches, and if any new sketches are required the Composer shall deliver such sketches at his earliest possible convenience.
   3. After the Producer’s approval of the final sketches for the Music the Composer shall proceed with the recording and mix of the Music, and the Composer shall deliver the Recordings to the Producer in accordance with the production schedule and Art. 3 below.
   4. The Producer and the Director shall upon delivery of the Recordings review and approve the Recordings. In the event that the Recordings cannot be approved, the Composer shall correct and deliver the corrected Recordings within 14 days, and the Producer and the Director shall approve the corrected Recordings no later than 7 days after delivery of these. 
   5. The Producer shall be entitled to produce, edit, add to, sample from, mix, loop etc. the Music and Recordings as the Producer deems necessary for the optimal synchronization with the Series. The Producer shall decide solely to what extent the Music and Recordings shall be included in the Series. The Composer accepts that the Director/Producer have final cut as to the lengths and sequences of the Music and Recordings delivered by the Composer to be included in the final version of the Series.
   6. Provided the Director/Producer finds it desirable and relevant the Composer may participate in the final sound mixing of the Series, which is scheduled to take place in Copenhagen according to the post production plan The Producer will cover the Composer’s pre-approved travel and accommodation expenses relating to any possible recording sessions outside Copenhagen.