Getting Your Stuff Together Analysis

3.1 Introduction – Getting your Stuff Together Composers require a certain degree of research going into any film-scoring project. Once you have convinced the producers that you are the right composer for their project the quest for answers begins. Finding the most suitable way of scoring the film requires input from many layers of the projects creative team. (Wright & Karlin, 2004). Knowing the genre, the film, the artistic and practical possibilities for the film, who is involved and to what capacity can you flex your compositional muscle. Finding a voice for the score begins with identifying the role of music in the film, and this is discussed below together with what style of voice the music needs. Looking back through memory, an emotive …show more content…
Everything we see in an animated sequence is there because the creators want us to see them. Animators want us to suspend belief and to actively part-take in the animation sequence, unreservedly. 2D animators construct the visual narrative as pictorial representations of or references to one or more “events” that occur in a sequence (Pimenta & Poovaiah, 2010). When telling a visual story in animation the possibilities are endless as to how the narrative can be conceptualized. Animation can show the viewer things and objects that are not usually visible (Bordwell & Thompson, 2004), or that we are predisposed to see. This affords the narrator or animator tremendous scope and control over the imagery, and the significance to the narrative of each visual component. In City of Roses the director made several pointed references to the fact that he wanted the score to reflect the emotional narrative, the story, and above all else help with the narrative transitioning between animation and live action. The use of the Believe Me if All Those Endearing Young Charms was to be the steadfast anchor as we move between 1950 and …show more content…
At this point in the process the score had established a place to exist within the narrative and emotional characterization of the film. There were three musical junctions with which the score had to pass through. The opening live-action scene was scored with a track created with sampled virtual instruments, composed to resemble the Dexys Midnight Runners song Come On Eileen (1982). This is source music and sits behind the action of the bonfire scene. The next musical statement follows that into the next scene when the boy reads the first letter and we are transported into the animated world for the first time. The music here is a licensed track of a parade scene, and at this point we are acclimatizing to the animated world we have found. Visually the artwork enfolds us in the world of the letters, but the emotional narrative happens in the next scene, and it is at this point the character of the score is