Composing for Film, Part 1: Before You Score

Imagine audience members nestled in their seats, popcorn in hand, the lights dim, and music fills the theater. Goosebumps cover their skin as they feel... excitement, dread, happiness? They’re feeling what was expertly crafted after months of planning, meetings, discussions, first, second, third attempts, notes, revisions, editing, tweaking, etc. Scores are true labors of love. They can take on a life of their own and breathe soul into a film, or they can distract the audience and detract from the film.

Close your eyes and think of the music for Star Wars, Terminator, or James Bond. Immediately, you can remember the melody, the film, the emotions you felt as you watched iconic characters fight villains, fall in love, build friendships, and even sacrifice themselves. Never underestimate the power of a score; if done well, it can completely elevate the full experience and stay with moviegoers long after they’ve left their seats.
Film composers differ because they don't write music to fit their brand, band, album, or artist identity. Instead, they create an auditory representation of the director’s vision for the film. Ultimately, the director has the final say and, sometimes, score decisions are made months before they even have a conversation with their composer.
Perhaps one of the most difficult aspects of the role of a film composer is that they are in a partnership, but the director has more than 50% of the power—making this a difficult symbiotic relationship to establish. This is probably why there are so many repeat partnerships, like Burton and Elfman, Nolan and Zimmer, Spielberg and Williams, and others. Choosing the right music for the visuals is a combination of artistic vision and efforts, starting with the director, leading to a spotting session and the creation of a music summary chart.