Once a composer has the film, they will then work on creating the score. While some composers
prefer to work with traditional paper scores, many film composers write in a computer-based environment. This allows the composer and orchestrator to create MIDI-based demos of themes and cues, called MIDI mockups, for review by the filmmaker prior to the final orchestral recording. Some films are then re-edited to better fit the music. Instances of this include the collaborations between filmmaker Godfrey Reggio and composer Philip Glass, where over several years the score and film are edited multiple times to better suit each other.[11] Arguably the most successful instances of these are the associations between Sergio Leone and Ennio Morricone. In the finale of The Good, the Bad and the Ugly, Morricone had prepared the score used before and Leone edited the scenes to match it.[12] His other two famous films, Once Upon a Time in the West and Once Upon a Time in America, were completely edited to Morricone's score as the composer had prepared it months before the film's production. Another example is the famous chase scene in Steven Spielberg's E.T. the Extra-Terrestrial. The score, composed by long-time collaborator John Williams, proved so difficult to synchronize in this specific scene during the recording sessions that, as recounted in a companion documentary on the DVD, Spielberg gave Williams carte blanche so to speak and asked him to record the cue without picture, freely; Spielberg then re-edited the scene later on to perfectly match the music.When the music has been composed and orchestrated, the orchestra or ensemble then perform it, often
with the composer conducting. Musicians for these ensembles are often uncredited in the film or on the album and are contracted individually (and if so, the orchestra contractor is credited in the film or the soundtrack album).
prefer to work with traditional paper scores, many film composers write in a computer-based environment. This allows the composer and orchestrator to create MIDI-based demos of themes and cues, called MIDI mockups, for review by the filmmaker prior to the final orchestral recording. Some films are then re-edited to better fit the music. Instances of this include the collaborations between filmmaker Godfrey Reggio and composer Philip Glass, where over several years the score and film are edited multiple times to better suit each other.[11] Arguably the most successful instances of these are the associations between Sergio Leone and Ennio Morricone. In the finale of The Good, the Bad and the Ugly, Morricone had prepared the score used before and Leone edited the scenes to match it.[12] His other two famous films, Once Upon a Time in the West and Once Upon a Time in America, were completely edited to Morricone's score as the composer had prepared it months before the film's production. Another example is the famous chase scene in Steven Spielberg's E.T. the Extra-Terrestrial. The score, composed by long-time collaborator John Williams, proved so difficult to synchronize in this specific scene during the recording sessions that, as recounted in a companion documentary on the DVD, Spielberg gave Williams carte blanche so to speak and asked him to record the cue without picture, freely; Spielberg then re-edited the scene later on to perfectly match the music.When the music has been composed and orchestrated, the orchestra or ensemble then perform it, often
with the composer conducting. Musicians for these ensembles are often uncredited in the film or on the album and are contracted individually (and if so, the orchestra contractor is credited in the film or the soundtrack album).
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