Help! Music inspiring directors

[Yehia 0]

I am looking for material for my bachelor project which is about "music inspiring film scenes". I've been digging the internet for any useful info and I cant find any good ones.

I learned that in "E.T" John Williams composed the music before the scenes where shot and that Spielberg adapted his shots and cues to the composition. If anyone can confirm this it would be much appreciated! Also asking people rather than just googling has its benefits, so if anyone knows anything regarding my topic I would be more than delighted to hear what you have for me!! Cheers, and thank you

[Tom 4,651]

Given that the score is almost always written after the film is shot (even temp tracks placed after the film is shot), you are not going to find a lot of examples with original scores.  Perhaps you are thinking of pre-existing classical or pop pieces from which directors took inspiration in the shooting the scene?

[Dixon Hill 4,234]

Look to the Nolan/Zimmer relationship, and the Leone/Morricone one. 

[oierem 152]

3 hours ago, Yehia said:

I learned that in "E.T" John Williams composed the music before the scenes where shot and that Spielberg adapted his shots and cues to the composition. If anyone can confirm this it would be much appreciated!

 

That is not correct. Spielbert shot and edited the film first, as always, and the music was composed later. While recording the music for the final chase scene,  Williams was not able to get a perfect musical performance while playing to the film (and hit all the sync-points), so Spielberg suggested that he should record the music without the film -and he adjusted the editing (slightly) to the performance of the music. But he only changed the lenghts of a few shots, and only for a specific scene.

[Yehia 0]

On 3/4/2017 at 9:27 PM, Tom said:

Given that the score is almost always written after the film is shot (even temp tracks placed after the film is shot), you are not going to find a lot of examples with original scores.  Perhaps you are thinking of pre-existing classical or pop pieces from which directors took inspiration in the shooting the scene?

We'll I understand, but surprisingly there are quite a few examples of composers who inspired their directors with their compositions. Its not about "scores are written before or after filming the whole thing". Its about the natural reflection of music on a director's vision during filming certain scenes. Most of what I've found in my mini-research was information in the form of trivia and facts. Rarely would I find clear context from interviews, articles, etc...

I think you mean something like Martin Scorsese or Oskar Fischinger and their relationship with classic music.

Thank you Tom for your time!

 

 

 

On 3/4/2017 at 10:17 PM, TheGreyPilgrim said:

Look to the Nolan/Zimmer relationship, and the Leone/Morricone one. 

Great. I will  Thanks!

On 3/5/2017 at 0:25 AM, oierem said:

 

That is not correct. Spielbert shot and edited the film first, as always, and the music was composed later. While recording the music for the final chase scene,  Williams was not able to get a perfect musical performance while playing to the film (and hit all the sync-points), so Spielberg suggested that he should record the music without the film -and he adjusted the editing (slightly) to the performance of the music. But he only changed the lenghts of a few shots, and only for a specific scene.

Spielberg - "In the case of E.T. (1982), John asked that we simply let him perform his theme without trying to measure it closely with the edited film. We shut off the projector and John performed the theme for E.T., just letting the spirit come from his heart. It worked so well that we took the last scene back to the editing room and conformed out pictures to John's interpretive conducting." 

You are right.

 

[karelm 2,912]

I always thought this was a very beautiful scene where I think Spielberg mentions filming scenes like this just to give Johnny a moment for a big music statement and I think this is a very successful one where the story, characters, sound, subtext, and cinematic drama all coalesce beautifully:

 

[Gnome in Plaid 219]

I can't find the source to confirm it (other than the dialogue in the screenplay), but the denouement of Requiem for a Dream originally had dialogue in the scene of Sara's friends visiting her in the hospital, yet Aronofsky chose to leave the longer sequence wordless after hearing "Lux Aeterna."