Bernard Herrmann, the dark side of innocence.
A sacred-secular interpretation of his music.
di Franco Piersanti
I keep telling you the path made by the composer and his/her music until a movie is completed. This is based, again, on the most frequent questions asked by people interested in and curious about the relationship between music and cinema.
Two – Music that does not exist
…so now you have to start working.
You are in line with the director, economic agreements have been reached, you have already signed or are about to sign your contract…
So let’s put apart bureaucracy and focus on the film score.
You start thinking about what is going to happen in the next one month and a half, the time it takes before recording the music. (more…)
LETTERS IN FREEDOM
I would like to try and tell you, through some chapters, the path made by the composer and his/her music until a movie is completed. My story is based on the most frequent questions asked by people interested in and curious about the relationship between music and cinema.
The fist step is the request to compose the score.
Normally in Italy, as there is no agent representing the composer, unlike other countries, the request comes from the director, or sometimes from a producer or a musical publisher. You may be contacted before shooting begins or while shooting or even after the movie has been shot. In this case you might suspect that someone else has been hired before you and then something has happened and you have been picked. In such cases, I have never investigated. (more…)