Danny Hahn chats about the different ways he likes to approach a film score.
“I approach a film score by first getting excited by the project. I then spend hours on the phone to the eager film director discussing. Depending on the style and development of characters, I look out for possible leitmotivs. When it comes to writing, I work in a variety of ways.
- Usually, it’s easy to just play a harmonic chord progression with the right mood, then jot it down on paper. Sometimes, I like to start by ‘spotting’ the film with music by other composers. I have thousands of LP’s and CD’s of classical composers ready at my fingertips in my studio, and have collected the full scores for most of the music collection, so easy reference to notation is handy.
- Other times, I just jump right in, and choose a key, instrument and tempo, then improvise on a keyboard. The most effective and enjoyable approach is by moving a harmonic structure with the pace of the film, reaching climaxes along the way where appropriate, then adding a melodic line on top. Often, it is simply a matter of taking the harmony away and leaving the melody alone to make a leitmotiv for a character, and then bring back the harmony later for the development in the film.
- Sometimes, I take an idea from a composer, and weave it into the style I already established. For example: a brutal scene with an axe murderer. I may hear rhythms and sounds from Stravinsky’s ‘Rite of Spring’, and get out his score, then write down what I consider to be the ‘brutal’ element – perhaps certain dissonances or simply the repetitive rhythms with carefully placed accents. I then fashion it to my style.
- I spend most of my compositions playing the violin by feel. After writing the music by hand, I collaborate with a musician or two – (creatives in residence Angela Caesar and David Way). I learn more about my own writing especially when others interpret it. We write with pencil over the score, filling it completely with dynamics, accidentals and expressions. Then the music comes to life! It is such an exciting experience.
At some point however, I needed to get some perspective. It only later occurs to me that I may have been deeply influenced by composers such as Richard Strauss, Korngold and Wagner, which may suit the style of film, however, I’ll find that I’ve created harsh juxtapositions at times, where Poulenc sounding love scenes and Theremins are being used!
In conclusion, I think the most difficult part of the ‘just go for it’ approach, is maintaining a balance while I get swept away by the process of music making. There’s nothing more annoying than creating brilliant music that does’t get used because it just doesn’t fit together. It works just like making a painting. You need to go right up to the big canvas and concentrate on all the strokes and little details, then take 4 or 5 steps back to actually see what the hell you are doing!”
Written by Danny Hahn. 2011 ©
© 2011 NeoKitsch
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