Behind the Score of Fishers of Men with Bill Brown
Just over 3 weeks into the project and only 2 cues left to write! After listening through cues with Josh and TJ on Friday I was reminded of how proud I am of the themes for the score and how excited I am to hear it all in context. I really feel this is some of the best work I’ve ever done and am so grateful for the whole process. In the two score cues that remain, I have a new theme to write for Pete and Maggie and then a more atmospheric cue for a key conversation between two of the characters.
The next phase of scoring after those cues are completed will be preparing the music in the computer to send to my orchestrator and prep team so that they can set up printed scores of all of the cues for the orchestra to play. Right now, we are listening to what is called a “mock-up” of the score, where I used “samples” (individual notes of real instruments recorded and laid out across the keyboard) to give the directors a sense of what the music will sound like when it’s finished. However, the real magic will happen when we get all of those professional musicians in a room and they add their souls to the music as well. It’s the most powerful moment of the process for me, hearing the themes I’ve created played beautifully by such talented players.
Speaking of talented players, this week was just wonderful here at the studio—from the recording sessions to another great meeting with the directors! The sessions started last Saturday with Steve Tavaglione. It was another emotional combination of live flute and clarinet performances along with the computer ambiance creation that set the tone for more cues in the film. Simply gorgeous stuff! Next up was another session with George Doering, which was amazing. I’m so fortunate to have these guys on the Fishers of Men score. I used to dream about being able to create something like this, and they are helping to make it all go so smoothly! (See below for lots of pics of the sessions.) Finally, Tina Guo joined me to record some awesome cello and ambiances as well which are quite haunting in the mix. We were able to create a classic “Old West” vibe in a contemporary musical setting using glissando cello lines, which mimicked that raw “fiddle” sound you’ve heard in westerns so many times but with a darker, bigger emotion to them. I also love doing harmonic parts on cello with Tina, and this session we took that sound even further, which was a great surprise. Really interesting “happen-stance” as Steve puts it. (He’s funny that way!)
So, here are some fun photos from this week’s session. I hope you enjoy! Next blog we should be rounding the corner and mixing the score. Maybe the directors will let me share a cue with you in advance of the film’s opening for fun?! And then I’m going to Disneyland…stay tuned!
The Composition of FOM Music
By Bill Brown
Edited by Stephanie Pack
