Fondi Film Festival: Music for cinema composition technique

Masterclass Piersanti

Music for cinema composition technique

Masterclass with Franco Piersanti (September 15-17, 2017)

The Masterclass of music for cinema composition is addressed to young composers who consider music applied to cinema as one of the options of professional music composition.

Open to students from any nationality and with no age limits, the Masterclass, organized in collaboration with the association Giuseppe De Santis and part of the 16th Fondi Film Festival, will take place in Fondi (LT) in September 15-17, 2017.

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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.

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