Composer, Mark Korven | MASTER CLASS | TIFF 2016

Featuring a live performance

Canadian composer Mark Korven reveals the process behind his chilling soundtrack to last year's breakout film The Witch, in this integrated onstage conversation that incorporates film clips and live performance. Korven has scored over 60 films, including I've Heard The Mermaids Singing, Sam & Me, and Cube, and will discuss the intricacies of the collaborative process between directors and composers. This unique and exhilarating sonic journey showcases the artistry of music composition and its vital contribution to film.

Presented in collaboration with the Screen Composers Guild of Canada.

With guest:

Mark Korven
Composer

Mark Korven is a Toronto based composer for film and television. He is best known for his work on the 2016 period Horror film The Witch, which won the best director award at the 2015 Sundance festival for director Robert Eggers, and went on to earn $40 million at the box office. His scores have been nominated 14 times for Gemini awards and 8 times for Genie awards. He has won two Gemini awards, and a Genie award for his work on Curtis's Charm

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Closed Caption:

hi good afternoon I'm carina roman Stein
I'm the programmer of the TIF industry
conference and welcome to our master
class with mark
Corbin this you guys are in for a real
treat if you just take it just take a
look over there
this will all be explained very very
short labor it's very exciting just for
all of you guys are we have added a
master class tomorrow morning at
ten-thirty it is rob reiner so please
come back and come have a few laughs
with us would be great
I we are live streaming to the TIF live
channel and you to be on YouTube and
please feel free to tweet and usually we
say no photography but for this one if
you guys wanted tweet and take some
pictures and go for it
this is this is the session to do it for
sure so we've had a number of Directors
in our master class series however it is
important to recognize that many
creatives working in film have also
spent decades mastering their craft
presented in collaboration with the
screen composers guild canada and a
special thank you to them we salute the
work of film composers through one of
Canada's leading composers mark Corbin
mark is a trot is toronto-based and his
creative film scores original scores for
television and over 60 films including
I've heard the mermaids singing and cube
he's 12 gemini awards and a genie award
for his work on curtis's charm his
original score the 2016 her . . horde
film the which is the essential creative
contribution to the film's success as
one of the top grossing independent
films of 2016
it grossed over 40 million dollars i
mean what what does that happen
I mean let's tell you so obviously film
scoring is if the film score is
important and it is owned some cinematic
language and the collaboration between
filmmakers and composers and is an
essential ingredient so let's get on
with the show is very exciting hosting
today is Colin Gettys he is the TIF
programmer of midnight madness and the
Vanguard programs please join me in
welcoming mark Corbin and column Gettys
so things are gonna get spooky and
strange as you can clearly see from
these arcane devices that are the
musical device is not torture devices
correct
we'll just keep you guessing
um so why don't we just start the scene
first by showing one of the clips that
you got sure the the first clip i think
is it's not from the which actually it
was some some . music that that I that I
pulled from the I guess it's the the
16th century it's a piece called locker
me and I played it all on nickel Harper
which is its instrument that i'll show
you later and it's just an example of
what we tried out in the beginning and
Robert acres the director felt that
wasn't a directionally you wanted to go
he didn't want any . music in it at all
but i just wanted to play it because
it's it's something that most of you
will get a chance to hear since it's not
in the film and i think i might be
narrating this i'm not sure though but
alright so we roll the first clip then
yeah
so we're actually will start going
backwards
okay so we just we started with a witch
but we're gonna go backwards um how did
you get into film composer can talk a
little bit about your background
it was originally kind of more of a kind
of our rock and progressive rock
background
well like a lot of kids i started out
playing in the basement bands breaking
ice to break dishes on the second floor
in my mom's kitchen because we play
black sabbath songs in the basement so I
started there and then I got into
jazz-rock fusion sort of progressive
music like you know King Crimson Genesis
things like that and then I got
seriously into jazz and they studied
jazz for for a few years and then I
became a singer songwriter writing my
own songs and then I had my first film
just fall into my lap . accidentally and
what was that that was actually debating
about Patricia husband and so what was
the the check did you find that to be
kind of challenging to suddenly have to
kind of match her vision with what you
had his composure it was it was a little
tricky because it was the situation was
I was writing all my sketches on on
piano because like I didn't have any
gear also it was reading all these
sketches on piano and down i remember
playing back these the all these musical
ideas for petition petition looked at me
at the end of it instead I really hate
piano so we started from there but it
all worked out in the end do is to get
experience in the end and so that was
kind of an inadvertent kind of
introduction to the industry how do you
kind of follow-up from there you realize
like this is this what I wanted to do or
did you just kind of seeing something
that you would maybe dabble in no I
pretty quickly even though it came about
30 accidentally I knew pretty quickly
that it was a natural thing for me
because up until then I've been a
performer but I i really didn't fit that
mold very well and as soon as I found
myself in the position of responding to
to visuals at all
this is this is where it should be
when I said so where do you start when
you're composing I mean is it like a
visual cue or an audio cue where do you
kind of was the of the Genesis for your
ideas
well it's changed a lot over the years
like when i first started out this is
like way back on the horse and buggy
days where you know where people were
coming films on Steve backs and is all
magnetic tape there was there is no such
thing as 10 music background is there
there's very little of it
so you're forced to use your imagination
so you watch the visuals and whatever
started coming into your mind the score
would come out of that but as is so
typical for composers nowadays you're
reacting to the tent music because
typically the directors fallen fallen in
love with the tense music tense music is
so for temporary music that's editors
will throw in a temporary music while
there while they're cutting and quite
often they they get overly familiar with
it and often they fall in love with it
so you're in the position of of trying
to beat the tent music or trying to do a
sound-alike of the tent music so that's
been a real problem which has occurred
due to the the advances of technology
like back in the steamboat days you know
you have the you to go over to your band
if you wanted to put in music you have
to pull out these reels and razorblades
no one wanted to do that so now they can
use like things like pro tools and boom
they can throw that tracking in two
seconds so yeah the film programmer
I mean we see films in very raw states
through the summer and we kind of have
to guess where they're going to be going
to click on the the score because they
always will put in this temp soundtrack
and and me doing the midnight madness
films i get all the horror films and the
last two years the temp score of choice
has been the score from it follows which
we had in Midnight Madness several years
ago and it's just like that always the
the new queue that they would actually
think I complained about it on facebook
saying like Oh yet another score with
the score that we had before and I had a
friend who is an editor working on a
film which was getting submitted and the
director came to him like yeah we're
going to put it follows in there the
10-track my friends like no no no put
something else that's like he's little
overloaded because he was that and also
have been more Coney score from the
thing is another one which is using
accused of that
so how do you how are you able to like
really get them distracted like here's
something new and fresh or like how do
you get them separated from that kind of
focus on someone else's music it's
really difficult sometimes it gets to
the point where if I hear that they've
been cutting for months and the temp
scores been in for the last 45 months i
know its pretty well useless trying to
get them unwell did from from the tech
music but my general approach is is try
to understand what they're reacting to
what part of it that they've sort of
fall in love with and I i I'll try to
try to achieve that in some other way
and hopefully i can go beyond the the 10
music so that's what I'll I always set
out to do you know how can I do better
than what they presented me in the
beginning know within your filmography
it's a mean only just really a few genre
films where I mean cube obviously been
just an Italian cute but the majority of
your work is actually in documentary can
you talk about what the difference is
finding the right kind of score and kind
of passage for documentary as opposed to
like a narrative film was going for
documentaries and it's going for feature
films are very very different things
because as a general rule my approach to
documentary is sorted to stay out of the
way emotionally because you sort of want
to view the view the film in a very
objective manner so you don't want you
don't want to guide the audience in in
any way
you know you're like the the objective
viewer so you staying out of the way
emotionally basically but in in feature
films you're very much trying to engage
people emotionally in the end you're
trying to steer people you know to
understand what's going on in the scene
better composer has a tremendous amount
of a power and in in how the particular
scene is is is is understood or or
perceived so very very different because
it was just to get some more context so
we watch another clip sure and so but
the next clip though i believe is a
little extreme I were suggestive it's a
it's implied
it's implied but it'sit's we're all
consenting adults here right
ok have a most you have you seen the
witch as anyone not see the witch
okay well this is AG this is probably
first maybe not for the most sensitive
of our viewers but if you don't close
your eyes and just get caught up in the
music as well if you want no spoilers
yeah
so if we kind of take apart that seen
Robert comes to you i mean are you
you're looking at kind of the whole
picture but with the sequence like that
specifically can you talk about how you
work with him to kind of bring out that
kind of the the tone and atmosphere with
that sequence
oh yeah that was a lie wasn't it was a
real struggle actually we had a very
good position friend of mine been gross
revenues and he's a hurdy-gurdy player
and also plays many different world
instruments but very talented talented
guy and we brought him brought him in to
provide something extra for the queue
and we just couldn't find anything is a
very very long session because Robert
wanted something that would you know
again you push beyond the that the tempo
music so he pulled out this finish
instrument called to he can i think it's
called this ancient three strings
it's like a liar it's like a three
string liar with his gut strings and
play with the small bow and that's the
sound that that that sort of sounds
Susie heard that is like okay great have
heard that before
because he likes things haven't heard
before so yeah that's sort of how that
came about
okay let's watch the clip and then maybe
you can give us a tour of some of your
torture devices
so the next clip is a the next clip the
next was the the Sabbath what happened
with the fight although the world via
the store on the way to go grab for the
next clip good one
so with that there's the the vocals is
that you're bringing that into the mix I
said I suggested acquire I know this
choir in Toronto that they're called the
element choir and specializing in
improvisation since Robert was using
real tinker he likes to to play with the
notes and move notes around I I knew
that I had to be very flexible and I
couldn't go scoring a whole choral piece
that was just not going to work with
with mr. Edgar's sell out so we did a
session with this choir that specializes
in improvisation and its order we gave
them very general guidelines you know
everyone stand one note here and then
swirl around like a bunch of trees on
fire here and then everyone's dead here
and then it's all green you know that
was the kind of direction we never just
matching it with their voices
yeah yeah the other thing with the with
Robert easy we had a lot of guidelines
in one or sort of rules on on what we
could do musically so everything had
absolutely had to be acoustic there
could be no no electronics of any kind
so that was that was a bit of a struggle
and the other thing I everything had to
be very very dissonant almost all the
time so they were typically when I would
write a score you know you would have
moments that are very consonant you know
they're be release and then there's be
tension you started building score that
way but he wanted he wanted it to be
like a like a 90-minute nightmare that
just sort of sits on sits on your chest
like a sack of LED it so it was it was
working within those constraints that
was that was really kind of the other
thing you didn't want he didn't want any
sense of melody at all so he didn't want
traditional melody in my traditional
harmony
he just wanted something
completely strange in and out there so
those are some of the rules that i
worked with so shall we have a look at
some of the toys you have I'm sure looks
okay whoops i had this thing falling out
of my back here sir let me see if it
gets packing
sorry one sec skate bears
okay there we go okay this this thing
right here is called a waterphone he was
invented by an adventure american
adventure Richard waters
although it is everyone all go ahead
Mike still hanging here hold on one
second
are you gonna get paid extra for this
area go
okay great cool ok let me just get set
up here one second
so I just got to check things i'll be
having some technical troubles here so
if I just stopped in the middle of it
you know you'll know why this performing
thing is not something I do very often
ok
22 ok
yeah
yeah
yeah
yeah
yeah
yeah
yeah
yeah
yeah
yeah
yeah
Oh
yeah
yeah
yeah
yeah
yeah
yeah
so explain what this device is this
incredible
okay well we'll typically the water for
you actually put water inside it
I don't know I didn't have to put water
in today but usually take a little bit
of water so when you you know when you
play the thing like when you borrow it
and it will sweep around for you
so that's what that does is basically
two stainless steel serving trays welded
together and these are brass times that
that run around the whole thing and it's
meant to be it's meant to be very it's
like it's like non diatonic or chromatic
I mean it'sit's the notes are intended
to be outside any kind of a Western
scale that was the the intent of it and
you can also play an underwater actually
yeah literally you can paint underwater
and and so who made this where you are
Richard waters was the the inventor who
sadly is no longer with us but he sees
the water from guy you'll hear this all
over a horror movies a lot of horror
movies will use this instrument
sometimes they use the small small baby
water phones and this is the mega base
is the big the big daddy wonderful it
wow that's impressive yeah okay so what
what then is your system of little boxes
yeah so I'm just a looping it around and
I use a few different effects on that
none of this i used in in the witch
because it was like no electronics it at
all and yeah just playing with the loops
basically and then
the your wooden collection over there
what's that oh ok well that's a whole
whole different thing
ok now this this puppy here arrived this
morning and I literally i played this
about two hours because it's it's
something that I wanted to to build my
thought well hey we're doing this tip
thing quickly build it and you know i'll
bring here today so it's sort of a work
in progress
it was built by a very talented luthier
friend of mine tony duncan smith who is
up for you know evenings trying to get
this thing ready for today it's it's
basically we call it the Kate would be
college can't have the apprehension
engine that's the name that a friend of
hers came up with it's basically a scary
sounds and it can you help me perform
perform this I'll tell you what to do
I'll tell you everything i mean i have
to point out that there's here there's
like kind of four metal just metal ruler
these are mailed rulers yeah basically
and they do they do various things are
just not just sort of experiment will do
a little bit with it yes i will tell you
what did you okay
I think we're getting a little bit of
feedback on some of this stuff so I'm
not sure how much can be changed from
the booth on that
yeah this is not feedback this okay on
this is on purpose rates
this is called an ebow here this this
thing is basically electronic magnet
that will stimulate the string
ok so with with these things
yeah
we get some nice screeching sound of
this
but my fear is this sound
so we have
and also this thing that's sort of like
I think we get more feedback here I
think we need to so I think we need to
come take me out of the monitors all
together here just that if you can cut
the monitors all together
let's look at mothers
oh sorry maybe that's just me okay sorry
anyway I'm with the shell
no I think that was missing so I guys
okay so this is like a hurdy-gurdy
bow-wow
then your job is to lift this up to here
okay and when I tell you
let go
yeah
and we also have if you can see it but
this is this spring reverb from like a
guitar amp and when he hit
you got a nice explosion or when you
play with me Bo you get some some crazy
stuff that'll happen
hopefully
yeah
and up top this kind of cool up top we
have if I move this magnet mount if you
can see
yeah
that's just a series of like earth
magnets
yeah so it's it's like particles of
Aquino spring little pieces of metal and
stuff that's under the magnets
just get cool cool creepy sounds and
these switches just make noises they're
just too they actually don't do anything
pic but my favorite things are these
things going forever
below is that just kind of yeah so
anyway that's a that's what it is
it's it's it's almost like it's kind of
like a Rube Goldberg machine which has
just been kind of compressed and put
together but so how where does the
inspiration for this come from like how
do you mean it's clearly a lot of
experimentation
can you talk about your relationship
with the person who made this like did
you commissioned this
yeah specifically yeah so how do you
just like oh this makes it cool funky
reverberation noise can we put it in
there or do you play around with it to
find out where he's at random or is it
plotted out is it like it's it's pretty
it's pretty random some of what we stole
this this business here right i saw this
i saw this online somewhere to build
something like that and i thought it was
I thought it was so cool so we stole
that idea
this is original 54 original and and
this Tony came up with yesterday that
whole that whole thing and yeah this
this week we just sort of experimented
he's in a workshop and had where he
built those guitars they just happen to
have these are rulers hanging around so
that's how that came about and then
Grossman's a hurdy-gurdy player so I'm
familiar three degrees so came up with
that and the last one of the last film
scores i worked on the the director fell
in love with the temp music which had
spring reverb sounds in it so that that
got me into you know just
playing with that that business yeah and
since I'm what kind of mean what kind of
wood are using here I mean everything's
like finely honed this is like a nice
kind of dark as i can almost like a
walnut
yeah i think it's i think it's Stephanie
actually okay yeah hardwood so now that
you have this I mean do you patent this
what do you where you go next with this
is such a unique and amazing thing
no I see you're welcome to steal it now
this little problem at all
I mean it reminds me like when I was a
kid when I would get to like it will
Keith electronic it's and you'd realize
that like if you touch this spring you
could make a buzzing noise and if you
hit this i mean basically could make
your own homemade Thurman but my mom
just said it was noise it would make me
stop so but you turn this into a career
that's incredible because I mean
honestly these are just simple metal
rulers but just set that vary so the the
inside is just kind of hollow for the
yeah it's a very um it's a very very
light wood so you know you know even
scratching and stuff its and it's all
extremely reverberant
yeah that's like here
yeah that one
so this thing here is actually I'm
supposed to play in front of my career
when we just pull this over okay that
this is a swedish instrument called that
the nickel harpa so it dates back to
around 1350 1400 and this this is this
instrument is actually how I wound up
doing music for the which actually
because i was looking for a way to know
is to stand out from the cattle call of
composers that was was trying to get the
the film so so I thought you know this
this might be the instrument because
it's it it's very early music sounding
and it's you know it's very scratchy and
what it is it's it's you have you have a
drone string here it's basically four
strings have a drone string here and you
have three melodic strings and this the
notes are stopped with these put these
keys here so it's kind of the the
push-button violin of the of the the 14
hundreds literally and then you have all
these resonating strings here
which at which i think they they grabbed
from India you know the whole
sympathetic string thing which sort of
gives you a reverb chamber
well I'll just play a little bit for you
yeah
yeah
yeah
yeah
yeah
yeah
yeah
yeah
yeah
I think I think one of the things that
that Robert liked about it is is the
fact that i'm not a very good nickel
heart player because he liked the little
of the little things like you know I'm
it's really hard to get a nice . note of
the other the instrument but those those
are little frailties
yeah
yeah
it's very human sounding so it seems we
heard that he's like that's the center
of the score so that's that's how I did
most of the the strings in the score and
and plus I'm really bad cellist as well
and I had a really bad all cello so I I
i use that he didn't want any drums as
well so all the drums are me banging on
this this old cello you're basically
almost like that kind of taking the
imperfection of things to kind of pull
it into the score
yeah yeah yeah he did not want pretty
and nice neat sounds he didn't he wanted
real a lot of this
no I mean it's incredible because as
soon as you start playing like oh that's
the sound of the witch that
yeah peace but you would never have
guessed that it comes from an instrument
that almost looks like a weapon
I mean look like you're ready to go into
some kind of like acoustic artillery
wore a common chemical weaponry don't
think actually the another instrument
that I played on it is the basement
carpet as well I have one of those and
they're about their about that big and
they're an octave lower their sort of in
the range of a cello
so when you hear the which the the first
instrument you here is the base nickel
harpa now how how much are these
instruments still in use
I mean nobody was just kind of whatever
they've actually the very much in use a
particularly sweden and because of this
the the sound of it you'll hear to hear
a lot in Celtic music as well in in
Britain so they they picked up the
instrument as well so it's actually
becoming quite popular now believe it or
not
and where did you find yours sweden
that's the sweetest instrument so I mean
I found a switch builder can you another
little piece on there i know i think
that's about it that's all you're going
back
that's all right do we have any
questions from the audience I'm hogging
everything here is a right here in the
front row
yes there's a mic coming for you i do
believe marks and she's fantastic stuff
and I had a question about the horror
pieces which are just it's surreal and
amazing to watch that live because if i
had heard that in a film i would have
thought that was at least a day or two
session and mix and all that stuff to
get that sounding like that and do you
actually when you're doing that for a
film do you do it in real time like that
and how much post-production do you end
up doing our editing or mixing after the
fact that you actually just produce it
in real time like that
well that film was actually a very good
question that film was unlike any other
film i've done it was largely improvised
actually because I knew that I had to
keep things very very loose because
Robert was very much hands-on director I
mean when you see a robber Tigers film
at the beginning of the film it truly is
Robert acres film he is totally the
mastermind
it'sit's his artistic vision that I was
trying to help realize you know so i
wanted to keep things very very loose
very improvised so that you know he
could like move notes around whenever
whenever you wanted so well yeah
did that answer your question
so for example i had been a scoring
session that we were watching and you
weren't doing that to picture and when
it's done you finished and it over
already working on it
oh no I'm well the way the way it was
done was although it was done very
critically again I knew that I couldn't
just record the music and then handed in
that just wasn't going to work because
Robert he's a tinkerer so what I did is
I sampled a lot a lot of the instruments
that I play so we could go place them on
the timeline and and he could sort of
move notes around all all he wanted i
needed maximum flexibility winner when i
was working with him
yeah so it's a long process basically
yeah
here you'll see in the purple in the
maroon suit purple purple suit
yes brothers am i coming to you there
got that
thank you yeah amazing instrument i was
wondering the long metal thing our
plates on their own the wooden
instrument that is bad
yeah that know the long metal Reuters
that look like metal with the metal
rulers are these guys
yeah yeah they remind me very much of an
old African thumb piano
yes yeah very very much use the I like a
clipper leather that one yeah is that
was there an inspiration
I you know I didn't think of it until
you just mentioned it right now I ok
yeah i know it is very clever like
actually yeah yeah
thank you ok alright the red and pink
there whatever another okay yeah we're
doing
I mark thank you for the presentation is
fantastic
I how did you how did your interest in
world music and out and made instruments
start I it basically came about due to
my limited attention span because I get
bored very easily so i was playing
guitar for a long time and I and I
thought I love guitar but I'm just nice
here all these different sounds and I i
just started delving into your first was
violent and fiddle and then I picked up
flutes and then I you know the nickel
harpa and I just I was a kid in a candy
store I just I just wanted to play
everything so it was basically it came
about due to boredom
yeah and there's yeah
yep headed director approach me you did
a music video for a musician and the
musician decided not to release the song
and he asked me to write original music
for his video just wondering how you
would approach it
uh I've circled us ask that question
again I'm not sure I quite understood
there's a gentleman who made a music
video for an artist and musician pulled
out and he wants me to write original
music for his video because you were
talking about ten music yeah yeah you're
young musician yourself or sorry i'm not
sure i'm not sure how to identify their
I've never heard of that situation it's
like a rock music video yeah and the the
musician who created the music for the
video pulled up yes he doesn't want it
releases music in the end so you're
basically being have to kind of come in
and kind of fix things right
do it yeah just do
let's just go I mean but I mean there's
dancing set to the music there's
different you would you go with your
heart and do it that's a great chance i
think the whole bunch of people that
jump for that one that's what i would
say there's actually a question behind
you with their brother my pass the mic
behind you
so the second clip you guys showed that
was incredibly disturbing like I had to
close my eyes like 10 seconds and i
think i'm already scarred like how do
you have the stomach to watch that kind
of horror and I guess you have to watch
it over and over again to score it how
do you get the car you already like a
very give a pig skin or do you have to
like prepare yourself for that kind of
negative energy
oh well yeah you have to understand that
my background is a as a do a documentary
composer so that I've I I'm kind of
known as the really you know dark death
and destruction apocalyptic documentary
composer so I've done that for years and
years so you know like I worked on and
shake hands with the devil romeo
Dallaire and that was disturbing and
that i had to close my eyes and is like
okay I can't watch that scene again
that's it when i watch this
that means nothing to me because it's
not real it's just it's just you're
watching a stage play it has no effect
on me
it's it's there it's reality that that
has affected me like real or that's that
the service be and in many ways or films
are almost like the highest point of the
art of filmmaking because they're using
so many different elements to evoke a
reaction and we were talking with a
filmmaker on stage of midnight madness
tonight he was just saying like when I
make a drama
I can't tell what people are thinking
how to react and its really only comedy
and horror films where you get that
immediate reaction from the audience but
another little story remember when we
went saw a press screening of kill bill
and me and my friends were all like just
like oh this is so bloody this is so
crazy and then the mark class one came
up to us local credit was like well you
know what guards that like great
it's only the color red so what you're
seeing there
hold on folks let's just be clear that's
not blood it's just the color red and
you're interpreting that I mean it's
incredible the stuff like the I mean
that is such a subtle scene and you
don't actually really know what is it's
actually really done
yeah yes and I was saying that as a
brand new father ok so i do we have a
yeah i'm inside here
hello yea once again often amazing
performance but i think i was wondering
a with temp music and how I everybody's
kind of scoring with the same things
like it follows what would be your
you're like dream situation to work on a
film would you prefer there's no 10
music and all and you just have freedom
to play or would you like to be brought
in like early in the process to sort of
like build something with the filmmaker
as they're shooting well a technique is
really a double-edged sword for me I
mean for i think a lot of composers if
not most composers tense music is an
afternoon to them it's just they just
hated completely if i'm working on a
film and i have no idea what to do you
know I'm just at a complete loss having
some interesting tense music that might
steer me in directions that I would not
normally have gone and the the directory
can let go of that that could that's the
best situation that can be really really
great
sometimes you get bad tent music they
fall in love with it you're forced to
total line and go along with with bad
music that's the worst-case situation to
music
honestly though at entries agree it
really makes for lazy composers it in a
way it makes it makes my job easy
because it takes me out of the creative
process right i just have to sort of
copy what's there and click my paycheck
and go home so you never gonna you know
you're never gonna
I you know do this an amazing creative
thing you know you're never gonna you
never allow the possibility of what the
score might have been because although
it's gonna be is the temp music and
maybe a little bit better maybe a little
bit less good you know it depends if I
prefer no music if I'm really inspired
by the the film and I have a good idea
what to do I'd rather have no music if
I'm at a complete loss and I need some
help then I would rather maybe have a
few suggestions
ok i'm curious and now that you've done
the witch and the which has become
legendary
are you getting approach now for more
zombie films where is that where is this
job let you now are you getting a lot of
calls for for John John films
unfortunately most of the calls I get
are not are not of that caliber that say
you know it's a lot and a lot of this
which I have no interest in doing
because it because i like the witch
because it you know it's like a
Shakespearean play I mean the act of the
acting is is is wonderful you know it's
a very very rich story it's not just
it's not just this you know so that's
what i really want i'm really excited
about just good work
I just want to be part of good work so
it doesn't have to be you know I John
horror film or anything else is just
just give me something great to work on
that I want and microphones already on
the way there yep
hi I'm he still has done the note of
temp music I find that a lot of times
when I i edit my own work
it's quite it's a lot easier to get the
pacing of project or a picture when
there is music to edit too so that but
my question is to you when you get a
project whether it has temp music or not
are you ever bothered by the pacing of
the cutting in the editing of the shots
and I do every kind of sit there and be
a go like oh man if this shot last for
another three seconds i would have made
this that much more powerful by adding
might like another three seconds of
notes or something like that order is a
relationship that you kind of go back
and forth and go to the directory like
hey can we take the shot a little bit
because it'll make the music better
which will make the actual effect better
if you're in early enough in the process
yeah you can do that and i have said
that in the past you know this can be a
really nice musical emotional moment
let's just stretch that a little bit so
you so for sure
regarding regarding tense music I
understand that these days
editor's need and directors they need 10
music view the editing needs tense music
to get his cut approved now it's likely
you're not going to get your kind of
proved without without team score what
I'd like to suggest to people is how ru
composer early get them to pull from
their own library of music and use the
composer's music and and go from there
instead of you know pulling from a you
know John Williams score or whatever
pulled from the actual library of the
composer you working with that sort of
that for me that's the lesser of two
evils
all right put your hands together from
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