The film, is also known as Photoplay, theoretical film, motion picture or movie is a series of continuous images that when display in the screen they create the illusion of images in motion because of phi phenomenon. It is this optical illusion that causes the viewers to experience the constant movement of different objects in rapid succession. The filmmaking process is both industry and art (Mahmood, 2013). The creation of a film entails photographing the real objects with the motion picture camera. This can be done by either using a miniature model or photographing drawings. The tool adopted by the filmmaker should be able to address the critical music components of the movie. These elements include temp score, temp tracker, spotting, unexpected silences and directors ideas. This paper will address the attributes mentioned above in relation to the Suzu film clip.
Temp scores entail testing a movie with a sample music. Commonly, a sample music is an already published and recorded music adopted to a picture motion in the initial stages of film editing. The music in the temp score aims to reflect the psychological intent and the style of the director that he or she wants to be communicated in the final score of the film. It is also crucial to note that a temp score is either assembled by the director personally or the editor. However, a temp score can offer a challenge to the filmmaker because they inject in the musical aspects before he or she writes the firs note (Dobowsky, 2011). But, the temp scores are important for musical guidance. Findings indicate in certain scenarios the directors opt to use their temp score instead of the one designed by the composer.
Temp track is another attribute in the filmmaking process that all the filmmakers should put into consideration. Temp track is a temporary aspect of the movie’s soundtrack (Sadoff, 2008). It is usually obtained from the pre-existing music before the actual and custom-made score is composed. It is an integral component in the filmmaking industry because it serves the following functions. First, it enables the filmmaker to develop the concept of the composer. Secondly, temp tracker helps in establishing the concept of the firm. Thirdly, it makes it easier for the filmmakers to design their films in a manner that they can be suitable for the target audience. Therefore, is important for the filmmakers to apply the right tools to come up with the best tools that will be appealing to the audience. In the Suzu movie, the aspect of temp track can be applied after where one of the characters falls down while drunk. The next scene that follows takes the viewer on the events that are happening in the drunk man’s house.
The spotting session occurs when the composer and director come together to determine the direction and the purpose of the music in a given film. This stage occurs before the composer starts writing the film. According to Hoeckner, Decety, Wyatt, & Nusbaum (2011) the key persons who should be present during the spotting sessions comprises music editor, composer and the director and perhaps the producer. The consultation among these four people during the spotting session ensures that all the critical elements attributable to the film spotting are addressed. Importantly, to make the spotting session successful, the composer must watch the movie before the session to exchange effective insights and ideas with the director (Sadoff, 2008). According to Shumway (2009), a composer who understands the content of the film well can establish a strong direction of the movie and at the same time address the director’s needs or film specifications. The separation of the events in the Suzu film clip can be done by adopting the spotting the ideas of either the composer or the editor of the movie.
Unexpected silence is another attribute that the filmmakers should also pay attention to. In the Suzu movie, this attribute is well portrayed whereby the clip starts in a silence moment. The silence moments gives the viewers time to relax for the next coming scene. This is one of the aspects that might be very challenging for the composer. It should be noted that a sound designer has to infuse each scene with another different aspect apart from the dialogue. Ben (2010) noted that the silence moments in a film gives an opportunity for the viewers to breath as well as a time to conceptualize and mediate on the picture. In support Mahmood (2013) argued that silence moments works best immediately after big and loud scene. The introduction of the unexpected silence at this point gives time to the audience to recover from the freight. Additionally, Vuoskoski (2012) advocated that silence can speak volumes.
The director is a focal point in the process of the filmmaking (Sadoff, 2008). In each phase of filmmaking, the director is present and should ensure that his or her needs are addressed satisfactorily. Director has the final say on the script, shooting, and editing of the movie. Therefore, he or she has to assemble the right and talented crew, a good script and outstanding production while at the same time putting into consideration whether his or need is being addressed. The emphasis on the need to meet the director’s specifications avails an opportunity to him or her to showcase his or her creativity.
From the above discussion of the fundamental music components in a movie, it is clear that sound plays a vital role in the film. Music helps in guiding the viewers towards what is important in the movie scenes. It also helps to develop an empathy feeling and be in an emotional connection with the crew in the film. Ben (2010) noted that one of the most important functions of the music is to flesh dramatic and emotional nuance in a movie’s narrative. Again, music helps in the progression of the technical framework whereby it supports the camerawork and film cuts. To portray the creativity of the filmmaker, the music can either perform the on-screen action or follow it (Dobowsky, 2011). Therefore, music acts as a link that helps viewers connect with the different segments of the film.
Apart from being a film enhancer, music also can be a character in the movie. Music acts as a character in situations where the viewer can use a direct communication of the film message through the music. In this way, the music illustrates the characters thoughts. For example, the characters can sing for themselves to portray their emotions and facts to the audience. This argument evidences it clear that the impact of the music in the film is limitless. Ranging from the scary movies to the action movies, they all apply the aspect of music to capture the audience attention or draw out fear and emotions before their mind processes what they are seeing.
Conclusion
Music serves different needs of the film that can be either crucial in enhancing the storytelling or on the development of the emotional aspects of the movie. It is also important to note that music is important for any producer or director of the movie either at the initial stages or when shooting the movie. This is because the part of the film that do not appropriately connect to the other parts can work best when the aspect of music is introduced. Therefore, apart from camerawork, directing, writing and acting, music is also one of the best direct connections to the senses and emotions of the viewers.
References
Ben, W. (2010). The non-diegetic fallacy: ?lm, music, and narrative space. Music & Letters, 91(2), 224–244.
Dobowsky, J. C. (2011). The Evolving ‘Temp Score’ in Animation. Music, Sound, and the Moving Image, 5(1), 1-24.
Hoeckner, B., Decety, J., Wyatt, E., & Nusbaum, H. (2011). Film Music Influences How Viewers Relate to Movie Characters. Psychology of Aesthetics Creativity and the Arts, 5(2), 146-153.
Mahmood, I. (2013). Influence and Importance of Cinema on the Lifestyle of Educated Youth: A Study of University Students of Bangladesh. Journal Of Humanities And Social Science, 17(6), 77-80.
Sadoff, R. H. (2008). The Role of the Music Editor and the ‘Temp Track’ as Blueprint for the Score, Source Music, and Source Music of Films. Popular Music, 25(2), 165-183.
Shumway, D. R. (2009). Rock ‘n’ Roll Sound Tracks and the Production of Nostalgia. Cinema Journal, 38(2), 36-51.
Vuoskoski, J. K. (2012). Emotions Represented and Induced by Music The Role of Individual Differences. Jyväskylä Studies In Humanities, 147-174.
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