@William said:

"homage" (translation: ripoff).

shit. good timing actually. You know there is this idea spinning in my mind about making an "homage" to Santiago Santaolalla (the amores perros composer) and after seeing your post I had to confess that the ideas I had were much to derivative. damnit!
But good timing. I have to come up with something better...

@PaulR said:

Presumably this is what the director wanted and how many times have filmscore writers 'borrowed' Herrmann's style over the last 40 years. They can never quite pull it off though, can they?

PaulR,

I think my current score might surprise you then. Take a listen to just the first 8 bars:

Fear Of Clowns Motivic Snippet Extrapolated into 4 Bar Title Theme

Make sure you listen on some loudspeakers!

Also, a PDF of the thematic motifs is available here:
"Fear of Clowns" Music Score PDF
(NOTE: There is 2 pages of further developed variations written in pencil that I have not yet tacked on the end of this PDF).

Evan Evans

@evanevans said:

I think my current score might surprise you then. Take a listen to just the first 8 bars:Make sure you listen on some loudspeakers!Evan Evans

Evan

Thanks for posting this opening. Very sombre. I guess the film is of a dark nature by the sound of the 8 bars. Certainly has your trademark and sounds like you're onto something really good here. I looked at the PDF and it looks almost like a jazz structure (not that I know anything about jazz). Sounds great to me. 8 bars is not enough for me though. I want to hear the opening in it's entirity. It doesn't surprise me at all actually, if you're alluding to Hermmann??? It surely has your own stamp on it and thats what counts isn't it? It's great, no worries. Is it mostly VSL strings and incidentally I see where you want the Calliope and will check tomorrow as promised (providing I can drive a car, hehe). Presumably, the Calliope is for a kind of 'clowns' motif?

But. None of my business, but have you thought of making it all strings a la Psycho? I'm sure you have. What does the director think so far? No problems I would bet, providing he/she has an ear. [:)]

I listened straight out of the computer at high volume through very expensive Sony headphones and then through the Genelecs. No problems!

Later

Paul

Paul,

Thanks for checking it out, and so thoroughly. I appreciate all that you said. Especially about it having my own stamp on it. That is very exciting. I have been trying to find my own voice for over 15 years. I agree though. I really think I haven't heard anything like it before (perhaps only by Herrmann), and it alerted me that maybe it sounds like ... well ... me. What a nice feeling.

I did very much consider doing it all strings and frankly most of the score will be all strings. But the film audience nor the film itself could hold under that pressure. So so far I am doing a dark double brass ensemble, Piccolo, B.Cl, Contrabassoon, Timpani, perhaps a mallet or two (Vibes, Xylo), Calliope, and Strings.

I am also choosing this instrumentation partly in that it is very close in color to this directors last film, HUNTING HUMANS. As Herrmann gave Hitch a certain sound of his own, I wanted to also attempt that with this director.

I wanted to create a seriously foreboding dark, yet bouncy feel. Not light or light hearted by any means. Something that although coming out of the traditional circus oom-pah motifs, actually took it so seriously that it was menacing. And so you have that little riff in the bass woodwinds and strings, which is the intro to the main themes.

I think this score will be close to Herrmann's SISTERS. In fact I think anyone who can enjoy SISTERS ought to find mine a kind of sister score (pun intended). I have not seen Sisters. I have it on DVD. I have the score and listened to it a few times about 5 years ago. But I do remember it.

A draw and tendency that arose on this film was to use a really great synth sound. Not a cheesy one mind you, but something with merit. I recalled great use of synth in films like "Halloween" and "Christine" and "The Thing". But after thinking about the "WHY" of it, which I always do with every note I write (each note is very purposeful), I realized that the reason synth works in those films is that they are dealing with the supernatural. here I am dealing with a demented killer. A story, as grotesque as it is (lobbing off heads with a medieval axe), is no more than a human story of only natural proportions.

After I complete the Main Titles I will post a link to it. it's gonna run the gamut.

Oh, and about the jazzy stuff you saw. No not really. I am triadic composer. However, one of my calling cards is the use of polytonality, polyrhythms, and polymeters. So sometimes stacked triadic chords can come across as jazz rooted, but I never learned Jazz (ironically). I understand it, can notate it, but never crafted it or harnessed it. I am a classical guy through and through. That's why I like Pink Floyd so much!!!!

[:)]

Evan Evans

I liked this also though it was too short. I'd like to hear the whole thing. I think you're doing it right with the clown element - making it somewhat like a circus sound but subtle. It is a good basic contrast also - the brooding and threatening low orchestral sound against the slightly psychotic brightness of the calliope. Also, that's true about the synthesizer sound - it became in some of the later horror films a "sound of psychosis" somewhat like the theremin in earlier films. Especially if contrasted with orchestral sound. That is probably what Herrmann was doing on Sisters.

BTW that is a great score, one of his last and one of the most experimental in orchestration.

[quote=evanevans]
I am also choosing this instrumentation partly in that it is very close in color to this directors last film, HUNTING HUMANS. As Herrmann gave Hitch a certain sound of his own, I wanted to also attempt that with this director.[quote]

Definately a good idea when dealing with an ongoing genre that this director seems to like. Trademark is the name of the game as to me, is not straying all over the place throughout a film, like one hears from time to time, although rarely when one deals with a director that has intellect and feel for the music and goals at the same time.

[quote]I wanted to create a seriously foreboding dark, yet bouncy feel. Not light or light hearted by any means. Something that although coming out of the traditional circus oom-pah motifs, actually took it so seriously that it was menacing. [quote]

Yes. Understood. You may, and I don't mean this in a plagearistic sense, re-listen to the score of an Anthony Hopkins film from years ago, where he plays a ventriliquist and the dummy sort of takes over his character. It's late, and I can't remember the name of the film. Sorry, unlike me, but I'm chewed up after falling off a ladder today.

[quote]A draw and tendency that arose on this film was to use a really great synth sound. Not a cheesy one mind you, but something with merit. I recalled great use of synth in films like "Halloween" and "Christine" and "The Thing".[quote]

In a strange way, they were effective, film and economy wise. [:)] I think John Carpenter used to do his own music sometimes (or his wife did?), like on Escape from New York and Assault on Precinct 19 (??). Always difficult to mix and match orchestra and synth sounds in my view, but if it sounds right to you, give it a shot. If thats the wrong director, again, appologies, but you know what I mean.

[quote] After I complete the Main Titles I will post a link to it. it's gonna run the gamut.[quote]

Yes. Look forward to that!

[quote]I am a classical guy through and through. That's why I like Pink Floyd so much!!!![quote]

I understand the jazz thing, however, it may be time for most of us to move on from the Floyd aye? What do you think? Nice to listen to and all that and seen them live many times, but not sure how they can help filmscore writers these days. Stick to being 'classical' and good stuff once again.


Paul

You may, and I don't mean this in a plagearistic sense, re-listen to the score of an Anthony Hopkins film from years ago, where he plays a ventriliquist and the dummy sort of takes over his character. It's late, and I can't remember the name of the film.

Magic

directed by Richard Attenborough
music by Jerry Goldsmith

Scores by John Carpenter
I think there are some more, the following list includes all titles I've seen. The best scores (the older ones) were done in "association with Alan Howarth". I think Carpenter is the most effective composer/director I know. Especially for the horror genre.

Dark Star
Assault on Precinct 13
Halloween
The Fog
Escape from New York
Christine
Big Trouble in Little China
Prince of Darkness
They Live
In the Mouth of Madness
Escape from LA
John Carpenters Vampires

Herb,

I agree with your statement about Carpenter. In fact, there is only one other prominent director in history - Chaplin - who was a composer that did really significant music for his films. Chaplin's music is beautiful, though as you know he did not orchestrate it. There have been a few others but they are always amateurish in one field or the other.

I have always been impressed by Carpenter because he is a real filmmaker and his music for Halloween was extremely effective and completely original. It has been imitated endlessly, as was the film. Dark Star is one of the most original independent science fiction films, and Assault on Precinct 13 is a great low budget film with another minimal but strong score by Carpenter. I am extremely interested in this subject since I believe that cinema and music are exactly the same thing in their most basic nature. Film has more to do with music than it does with literature, though most people assume the reverse.

I am trying to find a common inspiration with the impetus of a film's themes and the music that goes with them. It is possible for one to inspire the other, though it has to be a film you are completely involved with. I've done it once on my feature "Remember Tomorrow" - that is, acheive a working method that used both film and music creation simultaneously - though unfortunately the film I made was bad. One of the drawbacks of working in two extremely difficult media.

Magic from the book (and screenplay) by William Goldman. Starring Anthony Hopkins, Ann Margret, and Burgess Meredith.

Great book, great film, and great score by JG.

Dave Connor

@herb said:

in "association with Alan Howarth".

Interesting. I know Alan Howarth as a sound designer. (And I own a fx library created by him.) A look in imdb showed me he´s made an impressive list of composing gigs as well. Very rare and amazing.
Maybe he´ll be my model...

@William said:

Chaplin - who was a composer that did really significant music for his films. Chaplin's music is beautiful, though as you know he did not orchestrate it. There have been a few others but they are always amateurish in one field or the other.

I have a couple Cds of Chaplin's music and I did not think it was that great. He had lots of help from legit composers who would transcribe and orchestrate what he sang. What is truly his own contribution is somewhat nebulous. Nevertheless I guess the music suited his movies but nothing that noteworthy as stand alone music in my opinion.

(edited by author)

I have no idea of what is on those cds. I suggest you watch City Lights, Modern Times or The Gold Rush which all have scores by Chaplin arranged by others which is what I am refering to - not miscellaneous CDs. If you think the actual film scores are god-awful -

I have no comment. That's the nice way of putting it.

BTW he didn't just think he could, he DID do everything brilliantly - writing/conception, acting, directing and music.

Sorry William, my comment was hasty. I did manage to find one of my Cds.
"The music of Charles Chaplin Vol. 1 The silent movies". Blue Moon record.
A CD I bought about 10 years ago and somehow I remember being dissapointed by it. I think I was expecting piano music at the time. More like the Buster Keaton music. Anyway it has music for the movies "A day's pleasure", "Pay Day", "The Gold rush" and "The Circus". After a quick listen definitely not god-awful, so I'm taking my comment back and I'll go hide for a while [:O]ops:

yeah maybe instead of God awful it's really only just "not that great"?

Love putting words in other peoples mouths. let's see if I can get him in trouble...

[:)]

Evan Evans

I had the good fortune of watching Modern Times in David Raksin's film class at USC (Raksin scored the film with Chaplin.) The tune "Smile" is from that film, which to my ears is pure David Raksin. I tried to pin him down as to who was primarily responsible for that great, great, tune (which I've been playing on piano recently, curiously.) I was rewarded with a curt reply that is was a mutual effort (accompanied by a nasty glare.) Shame on me really - but I was young.

Dave Connor

Astonishing film btw, with wonderful, beautiful music. The genius moniker was never better bestowed. Chaplin really did do everything.

PaulR and William,

Got some more done on FEAR OF CLOWNS. Here are bars 1 through 22 as they stand now. There is still some missing Cello stuff, and ContraBass Trombone, as well as some unvoiced harmonies.

FEAR OF CLOWNS - 1M1 Main Titles "Clown Macabre" (Bars 1 - 22; 70%)

Evan Evans

@evanevans said:

PaulR and William,

Got some more done on FEAR OF CLOWNS. Here are bars 1 through 22 as they stand now. There is still some missing Cello stuff, and ContraBass Trombone, as well as some unvoiced harmonies.

FEAR OF CLOWNS - 1M1 Main Titles "Clown Macabre" (Bars 1 - 22; 70%)

Evan Evans

Sounds nice Evan, kind of reminded me of a cross between psycho and the Sandcrawler cues from starwars.

Evan,
Sounds bizarre and really good - disjointed, insane. Just what a horror film called "Fear of Clowns" needs. What the hell is that about anyway?

Marc,
I am an extreme Chaplin admirer, so I get defensive very easily. Maybe he didn't do so much on the actual composition of the music - according to Dave it sounds like some was ghost written. It is probably impossible to tell for certain at this time. But I really like the melodies he was at least partly responsible for, especially in City Lights.

@evanevans said:

PaulR and William,
Got some more done on FEAR OF CLOWNS. Here are bars 1 through 22 as they stand now. There is still some missing Cello stuff, and ContraBass Trombone, as well as some unvoiced harmonies.Evan Evans

Hehe Evan. Thats very good. Very good. And it sounds good. I can see what you mean about cellos and the trom the coming in there somewhere. Doesn't remind me of anything actually. Unvoiced harmonies at the end of these bars presumably. Your'e working too slowly my friend. Quicker, please, quicker.

Bill, I think it's about head-chopping and horror genre stuff like that. We had all that here in the sixteenth century, only for real. Got quite expert at it actually. Herrrummmph!

Evan, I must share this. Today, I went to see a guy. A client. I get into his house and sit down. There is music playing on the stereo. I say, 'thats good playing'. He replies, ' Yeah, it's called Undercurrent by Bill Evans. I say, mater-of-factly, Oh yeah, I know his boy. After that, I get the royal treatment, you know, lunch, the whole thing. I'm thinking, good 'ol Evan. Anyway, I leave 2 hours later and am driving through very narrow country lanes. I stop suddenly at a sort of crossroads, via some kind of esp thing, and a second later, a huge great coach goes goes hairing by with the word CARMEL on it's side. Must have beee the name of the coach company. Weird! Dave and Bill will tell you, I'm pretty down to earth and not given to weirdness, but f**k me. [[:|]] Not the place to write this, so appologies in advance.

Later

Paul