These are all such awsome and interesting approachs from all composers, but Nainita's especially fascinated me! I'm such a huge proponent of imposing limatations on the process so that you can be creative up to those walls that you've self imposed! but then adding live improvising between musicians is just a pure recipe for immersing yourself in a space for creativity and magic to absolutely flourish. Awesome stuff as usual Austin! Keep em coming!
Yeah! Her's was the only story I'd actually heard in advance, from a talk she gave that I attended last year. I was so hoping she'd tell that story because it had been personally very inspiring!
wow, Paul's response was fascinating . I'm literally that person that does take after take to the point where I'm 80 takes in. I'll try to give myself 30 seconds in preparation next time and just accept the fact that I had it 70 takes ago lol
Absolutely fascinating as always! Thank you. I don't know why Bear McCreary's answer surprised me at first. Knowing just how many different things he has composed from TV to movies to games his "sound" is always changing. I also love that he has surrounded himself with a team that is willing to push him and that he is willing to keep trying new things. What a great way to start my weekend.
During my sophomore year of undergrad (visual arts), I began my first few explorations in film scoring (with *some* theory education at the time from 8 years of grade school-level orchestral practice - and before honing in even more on theory and notation, etc) where every single facet of the scores were improvised. The first score I ever was credited for was a small student film, and was partially done before filming (Excitedly at Park Place on the Warner lot - where "Brooks" is actually stamped in the pavement for whatever reason). I sat with my friend Josh, a cellist, and we spent a couple of hours experimenting with drones, stabs, and phrases. Later in post, I would cut and mix choice moments in with tracks from other musicians who provided improvised explorations (some guitar, bass, marimba - remote from SC while we were in Burbank for submission) - right into the Premiere Pro edit in a method that was very similar to how I'd anticipate a sound editor would operate. Every score I did up until 2019 was produced this way. Starting with the *main* sound and later incorporating supportive voices - i.e. Bass Voice + Contrabass lead, then piano, marimba, and harmonica for a separate horror score. By then I had started to explore DAWs, VSTs, plugins, etc. and started to apply new (to me) methods that were more efficient and akin to the "industry standard" of composition. Today I find myself in a mix of both worlds - and very seldom still create fully improvised live tracks. The most recent actually being for your Aliens Contest! I resonate heavily with the score for The Pathless. That mix of off-page improvisation and more on-page composition worked beautifully. I'm happy to hear that you plan to utilize it further and look forward to see what that brings you in the future. 😀
Hey I've gotten into composing since getting a guitar a year ago and your videos have seriously been so helpful because I want to do composing for video games when I'm older, there's alot of things I need to learn but I just wanna say thankful for posting your thoughts on youtube.
Of course, Daniel Pemberton is one of my most important influences on The Hailey and the Agents of H.A.I.L. Original Soundtrack (the official soundtrack title by me), alongside Michael Giacchino, Joby Talbot, Mark Mothersbaugh, Daft Punk, Jean-Michel Jarre, and the late Vangelis. Because without my favourite works from them, what would my soundtrack be? Nothing!
I think this question will be interesting to ask again maybe 15 years down the line when technology inevitably improves and changes. I'm sure whoever the next Hans Zimmer will be will take the artfofm to new heights
