Hit the Score
21. Sept. 2017 @ Private Cinema (East Hotel)
Speaker: Christoph Becker (Managing Director, Constantin Music, Germany), Karsten Fundal (Composer/Arranger, Karsten Fundal, Denmark), Eun-Zi Kim (Business & Legal Affairs, DCM, Germany), Michael Ohst (Managing Director, Bosworth Music / Music Sales, Germany)
Moderator: Annette Gentz (music agent and supervisor, Annette Gentz Music Arts, Germany)
Go to the programme here.
Kim shared some insights into finding the music for Germany’s popular Bibi and Tina children films. Instead of working with the go-to guy for children’s music, Rolf Zuckowski, the producers decided to work with the sophisticated songwriters behind German band project Rosenstolz.
Kim, whose company also distributed Moonlight and Lion, said both movies were fascinating examples of how some songs remained in the moviegoer’s memory and others didn’t.
To which Hornschuh replied: “If a soundtrack was strong you may not remember it right after the movie. It will return piece by piece. Like smells from childhood.”
According to the composer music becomes effective the moment it isn’t consciously perceived, when it merges with the movie. Hence recurring minimal elements were quite effective, because they aimed at one’s memory.
Becker then tackled the question of whether music was allowed to merge with the movie’s sound design. He concluded that a clear answer couldn’t be given. What can still be considered music? What’s a sound cluster?
At the end of the day, categories such as good or bad were meaningless. The only relevant question was: what serves the movie?
Two TV shows, which were brought up constantly by the panelists for their brilliant use of music, were The Man In The High Castle and Broadchurch.
Gentz remarked that many moves these days did not use clear melodies or themes anymore. She wanted to know whether this could become an alternative to the Hollywood mainstream, thereby offering a screen to you, up-and-coming producers.
According to Becker, the crucial question always was what would work on a broad scale. Even new and unknown composers who wanted to wander off the beaten tracks could penetrate Hollywood. He named Clint Mansell and Trent Reznor as examples.
In Europe, people were much more set on working with composers who went through the classical school.
At the end of the session, Gentz quoted Danish composer Karsten Fundal, who didn’t make the panel but had answered a few questions beforehand, including tips for up and coming composers.
He said: “Be true to yourself, and aware of your compromises. Not to avoid them, you cant, but be fully aware of them and don’t suppress them in the unconscious.
“Remember that reverb is as important as the notes. You’re making films, not music.”