As Doug Frank, president of music operations for Warner Bros. Pictures, stood up to address a small audience in Tel Aviv’s Cinematheque late last month at the 12th annual Master Class in Film and Television, he began with a question:
“What color are you?”
The atmosphere was casual and the answers varied. Pink. Green. Dark purple (chosen by someone who admitted to being out way too late the night before surveying the famous Tel Aviv party scene).
The point, Frank continued, was to show that the question could be answered in a word or two. Communication about music — especially when it comes to making movies and creating scores — should be simple.
His next directive was clear: Describe the music you want for your film to your composer and sound designer. From the far corner, Los Angeles-based sound designer Paul Hacker and composer Eric Jasper waved to their fellow Israeli and American participants.
Undaunted by the challenging task and early hour, an American producer named Henry Lowenfels volunteered first. Lowenfels needed music that would reflect the sentiments in his low-fi, independent comedy called “Visioneers,” about people who get beaten down by the world and eventually explode — not with blood and guts, but like a volcano. Within seconds, Jasper was playing a lovely melody on the piano in just the right tempo, as Hacker intermittently added in booming explosions from his laptop. The crowd tittered. This, everyone agreed, had the right mix of humor and pathos.
The point, Frank interjected, is that music is a critical emotional component of any film — whether it’s a small documentary or a Hollywood blockbuster. But in order to achieve the right musical score, you don’t need to speak in technical terms about orchestral palettes or major chords. Instead, filmmakers, writers and producers should describe images and feelings. The composers and sound designers will then translate them into accompanying melodies.
Sponsored by The Jewish Federation of Greater Los Angeles’ Tel Aviv-Los Angeles Partnership and designed to create mutually beneficial relationships between entertainment industry professionals in the two cities, the music component was new this year at the master classes. Past years’ programs have included television and film executives Darren Star, Nina Tassler, Gail Berman, Nina Jacobson and Richard Gladstein.
“David Renzer believes that music is an integral part of that process, so here we are,” Frank said. Over the course of the week Renzer, chairman and CEO of Universal Music Publishing Group, lectured about the role of music within the Hollywood system, as well as the future of the music industry and how to find a common creative language.
The participation of Steve Schnur, president of Electronic Arts Music Group, also added an enlightening layer for many participants — even for experienced professionals like Hacker. “Music for video games is a fairly new part of the industry, and he [Schnur] brought a really interesting and fresh perspective to the whole process, because he has worked as a music supervisor on feature films in the studio system but now he’s the president of music for Electronic Arts,” Hacker explained. “He’s crossing genres, and he was able to give career advice to any musician who wants to promote themselves.”
That advice included not thinking of yourself as a one-dimensional composer. “Nobody should consider themselves a video game composer,” Schnur said. “The greatest composers have done film, games and TV.”
As a prime example, he cited Michael Giacchino, who composed the music for the “Medal of Honor” video game but went on to work in television and recently won an Oscar for the movie “Up.”
“I think most of the people attending were gamers and wanted to get into the space. A lot of them came up to me afterward and said, ‘My God, you did a complete 180 of my ideas,’ ” Schnur added. “This gives them the realization that there are more opportunities as creative people out there for them outside of film and TV. They can apply their talents to film, TV, video games and even social media.”
We welcome your feedback.
Your information will not be shared or sold without your consent. Get all the details.
Terms of Service
JewishJournal.com has rules for its commenting community.Get all the details.
JewishJournal.com reserves the right to use your comment in our weekly print publication.