MUSIC WORKSHOPS COURTESY OF THE SOLIDARITY OF ARTS FESTIVAL STARS
Academy of Music in Gdańsk, August 18th 2010, masterclass for student composers; photographs: Roman Jocher
Charles Fox gave his masterclass on the first day of the festival. A dozen participants listened attentively throughout, for the star composer came to the workshop prepared and shared his knowledge on the subject with enthusiasm and wit.
First he introduced himself, talked a little bit about his Polish roots and – with Chopin looking at him from the opposite wall – admitted that there are certain things about his music that have always been quite Chopinesque. One of the participants asked Charles what his thoughts on electronic music were, to which he responded that a studio full of synthesizers will in his mind never replace a real orchestra. And this although he himself experimented with electronic music back in 1964 when synthesizers as we know them were yet to be invented. He also said that composer should always want (and be able to) conduct his or her own music. To end the introduction Charles invited everyone to Saturday’s concert (he also said many kind words about Leszek Możdżer), looked around the room and said with a smile: let’s talk film!
According to Charles Fox there are several things that are good to remember in this profession:
1. You should know the characters in the movie well, because your melody will eventually become a character in it – it will become one of the actors.
2. You should know the film you’re working on well – i.e. well enough to discuss it with the director on his level (for his is the most detailed and complex knowledge of the film). Moreover, you should always have words behind your music choices.
3. A good director will let the score writer interpret the film. A good director is one who understands that a good composer can bring something valuable to the picture.
4. Not only does music have to breathe with the film, it also has to have a point of view. It’s good to keep asking yourself a question why your music is in a particular scene.
5. Lastly it is important to learn to trust your feelings and rely on your instincts – often first idea turns out to be the best one.
After his short lecture, Charles moved on to exercises and questions. He presented fragments of movies with his music – without sound to begin with. Among them were a comedy Nine to Five (1980, with Jane Fonda and Dolly Parton), thriller Two-minute warning (1976, with Charlton Heston) and a drama Collected Stories (2002, with Linda Lavin and Samantha Mathis). After each fragment Charles would ask the participants what their approach would be, had they to write score to the pictures shown. Then, he would play those same fragments with sound. He made clear that his was only one of many possible routes to take – other choices could have worked equally good with these films – although it’s highly unlikely that anyone believed this particular remark. When he showed Collected Stories, a film set in New York City, he explained that with classic jazz sound he “played the place” rather than trying to give away “what’s around the corner”. He also demonstrated that “playing the weather” can be a good idea and had a scene from The Last Castle (2001, starring Robert Redford and James Gandolfini, with original music by Jerry Goldsmith and Tom Waits) to show for it. Charles Fox also mentioned that finding a longer, fluid line usually works better than making music “episodic”.
At one point he sat down at the piano, played a few notes of his and Norman Gimble’s Killing me Softly with His Song (1971) and said that a melody should have a path – its own journey. Lyrics that follow the same path obviously make the music more valuable, but music must have one anyway. He then played a couple notes of Yesterday to back up his words and clarified: “I didn’t write that one”. And quickly added: “I wish I did though…”
When asked if it ever happened that a score written and submitted by him was then changed without his knowledge by the director, he confirmed one instance (the 1989 comedy The Gods Must Be Crazy 2), but was quick to add that since this happened only once (he has scores to more than 100 films to his name), he does not consider himself a victim of misfortune.
To end his class Charles Fox listened to music composed by one of the participants, praised it (it did look sincere) and accepted a CD from him. He then chatted to others, who must have felt more courageous as the time of the workshop was slowly expiring.
To listen to what Charles Fox has to say on the subject of composing – what a great way to kick start the second edition of our festival.
Charles Fox gave his masterclass on the first day of the festival. A dozen participants listened attentively throughout, for the star composer came to the workshop prepared and shared his knowledge on the subject with enthusiasm and wit.
First he introduced himself, talked a little bit about his Polish roots and – with Chopin looking at him from the opposite wall – admitted that there are certain things about his music that have always been quite Chopinesque. One of the participants asked Charles what his thoughts on electronic music were, to which he responded that a studio full of synthesizers will in his mind never replace a real orchestra. And this although he himself experimented with electronic music back in 1964 when synthesizers as we know them were yet to be invented. He also said that composer should always want (and be able to) conduct his or her own music. To end the introduction Charles invited everyone to Saturday’s concert (he also said many kind words about Leszek Możdżer), looked around the room and said with a smile: let’s talk film!
According to Charles Fox there are several things that are good to remember in this profession:
1. You should know the characters in the movie well, because your melody will eventually become a character in it – it will become one of the actors.
2. You should know the film you’re working on well – i.e. well enough to discuss it with the director on his level (for his is the most detailed and complex knowledge of the film). Moreover, you should always have words behind your music choices.
3. A good director will let the score writer interpret the film. A good director is one who understands that a good composer can bring something valuable to the picture.
4. Not only does music have to breathe with the film, it also has to have a point of view. It’s good to keep asking yourself a question why your music is in a particular scene.
5. Lastly it is important to learn to trust your feelings and rely on your instincts – often first idea turns out to be the best one.
After his short lecture, Charles moved on to exercises and questions. He presented fragments of movies with his music – without sound to begin with. Among them were a comedy Nine to Five (1980, with Jane Fonda and Dolly Parton), thriller Two-minute warning (1976, with Charlton Heston) and a drama Collected Stories (2002, with Linda Lavin and Samantha Mathis). After each fragment Charles would ask the participants what their approach would be, had they to write score to the pictures shown. Then, he would play those same fragments with sound. He made clear that his was only one of many possible routes to take – other choices could have worked equally good with these films – although it’s highly unlikely that anyone believed this particular remark. When he showed Collected Stories, a film set in New York City, he explained that with classic jazz sound he “played the place” rather than trying to give away “what’s around the corner”. He also demonstrated that “playing the weather” can be a good idea and had a scene from The Last Castle (2001, starring Robert Redford and James Gandolfini, with original music by Jerry Goldsmith and Tom Waits) to show for it. Charles Fox also mentioned that finding a longer, fluid line usually works better than making music “episodic”.
At one point he sat down at the piano, played a few notes of his and Norman Gimble’s Killing me Softly with His Song (1971) and said that a melody should have a path – its own journey. Lyrics that follow the same path obviously make the music more valuable, but music must have one anyway. He then played a couple notes of Yesterday to back up his words and clarified: “I didn’t write that one”. And quickly added: “I wish I did though…”
When asked if it ever happened that a score written and submitted by him was then changed without his knowledge by the director, he confirmed one instance (the 1989 comedy The Gods Must Be Crazy 2), but was quick to add that since this happened only once (he has scores to more than 100 films to his name), he does not consider himself a victim of misfortune.
To end his class Charles Fox listened to music composed by one of the participants, praised it (it did look sincere) and accepted a CD from him. He then chatted to others, who must have felt more courageous as the time of the workshop was slowly expiring.
To listen to what Charles Fox has to say on the subject of composing – what a great way to kick start the second edition of our festival.