LETTERS IN FREEDOM. CAP V

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LETTERS IN FREEDOM

FIVE – IN THE EDITING ROOM DARKNESS

The editing room is known as a mysterious and powerful place. Next to the editor and his/her assistants, the director dismantles and upsets the dream, becoming Merlin.
Encounters that the cinema Fate, in its unfathomable project causes, in front of the Moviola enhance themselves becoming friendships lasting a lifetime or a few seasons, or links and old fellowships that can fall apart leaving gloomy resonances. But I do not want to reaffirm something many of you know very well. (more…)

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LETTERS IN FREEDOM. CAP IV

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LETTERS IN FREEDOM

Three extremely respectable friends are sending me messages full of tender curiosity.

I am working on three new different movies and from here I try to tell you what cannot be explained

 

FOUR – THEME OR NO THEME…THIS IS THE QUESTION 

First Movie

The director – let’s call him “A.” – requires 2 pieces, maybe 3 for the whole movie, and they have to be different among themselves. In addition, a 4-5 minutes piece for closing credits is required.

Normally what A. thinks is the same I think and feel. We have been working together for a long time and we do understand each other. The movie is curt, harsh, concise. Dramatic. I owe A. a lot. I’ve learned so much from him, maybe he doesn’t even know how much and what he has taught me about cinema. (more…)

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LETTERS IN FREEDOM. CAP III

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LETTERS IN FREEDOM

THREE – I ADMIT I AM AT A DEAD END

I admit I am at a dead end.

My small project to tell you about the path of a composer – me – from being employed to the end of the composition and recording of a film score, now seems very difficult to me, or greater than my storytelling skills are.

What I mean is that focusing on such a complex and imponderable process such as creation itself, makes me find very it difficult to write about it. My years of educational experiences are not enough to describe such a process, since my direct contact and the time I have spent with composers and sometimes listeners who are not musicians, is different from a written description, of course.

(more…)

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LETTERS IN FREEDOM. CAP II

 immagine lettere in liberta'LETTERS IN FREEDOM

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…)

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LETTERS IN FREEDOM. CAP I

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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.

One

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…)

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