A Quote by Terry Teachout
Does film music really matter to the average moviegoer? A great score, after all, can't save a bad film, and a bad score - so it's said - can't sink a good one.
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I'm happy to say that I have not been fired off a film. The score is usually the last thing to be done. So a lot lands on the scores shoulders. A lot of problems that seem to have nothing to do with the music gets blamed on the music , because it's relatively cheap to change, where as a reshoot etc is not. Music is often expected to help or fix bad cuts, bad acting, bad filming, bad timing, you name it.
It bothers me that the average fan, the average sportswriter for that matter, pays so much attention to what's in a box score. A box score does not properly represent the most important thing - team play. It shows some guy scoring 27 points, but it doesn't show that my 27-point man let his guy score 30.
To me, score is really important. I would rather not have any score if it's something that's going to detract from the film. So often when I watch films, the score is what really bothers me.
I want to write a score for a film. It can be a proper film, maybe for a film kind of like... I saw that movie 'Drive', or a bit of a 'Blade Runner' vibe. A little bit sci-fi, but I don't know. I've just always wanted to write a score for a film.
So I prefer to do the entire music for a film. And when I'm doing the background score, I can weave the whole film together in terms of themes and songs for a good cinematic feel.
The score is always the wonderful icing. The score tells you the emotional content of the film. What the characters don't say, the music can say.
I only made one film with a score, and I hate it. I hate the score of that film. It's not coming from me. I had nothing to do with it.
For me, when I choose a script, I put my heart and soul into it, and that is exactly what I look for in a film. A good film is a good film. And if it's a bad film, irrespective of whether it's made 300 crores or 200 crores or any amount of money, it doesn't matter to me.
The colors of 'The Nutcracker' ballet score have become a part of the vocabulary of film music. It's where so much of the 19th-century romantic music that I call upon as a film composer is rooted.
A good film demands its own score, and if you are a musician, your conscience will never allow you to do something mediocre for a good film.
On average, the higher the novelty score a film had, the better it did at the box office. But only up to a point. Push past that novelty threshold, and there's a precipice; the revenue earned by a film fell off a cliff.
What I learned is that I should probably read a screenplay every once in a while before I said 'yes'. You could make bad film out of a good script, but you're never going to make a good film out of a bad script.
When you start out as an actor, you read a script thinking of it at its best. But that's not usually the case in general, and usually what you have to do is you have to read a script and think of it at its worst. You read it going, "OK, how bad could this be?" first and foremost. You cannot make a good film out of a bad script. You can make a bad film out of a good script, but you can't make a good film out of a bad script.
Doing background score for a film is not an easy task. It requires constant and deep learning and it is the only way to create a score with finesse.
If it's a real bad score, then it can ruin a movie for me, or, at least, it will draw a lot of my attention to the score.
I believe in good films and bad films. Box-office business and all is my husband's section. Sometimes I really get surprised when good films don't do well... Sometimes you are really shocked when an average film does very well.
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