Create or Share a Mood

Have you ever had a very specific craving? Pork rinds, peanut butter pretzels, pimento cheese, pizza bagels, parmesan crisps, potato chips — whatever it is, that’s the only thing that will do. Because fulfilling what you are in the mood for can be greatly satisfying.

Setting the right mood for your event, film, or video, is critical to its success. So when creating your playlist or soundtrack, consider whether you are trying to express a mood that you are experiencing, or creating a mood you wish others to experience. Then think about food. Then think beyond snack food. Imagine your playlist is a dinner party menu.

Structure Your Playlist like a Menu

Your menu consists of the main course (pulled pork, mango-chickpea curry), an appetizer (Caprese bites, vegan seven-layer dip), side dishes (grilled asparagus, Chex mix, fresh bread), dessert (chocolate avocado raspberry pie, coconut chips), and a surprise or treat (sparkling wine, bacon-wrapped dates).

Your main course is your theme. It might not be your favorite food, but it appeals to (or can be eaten by) most of the folks in your dinner party, and it is both delicious and kitchen-tested.

Your appetizer is the first thing people get to taste, and plays well with your main dish, but has a different feel and level of accessibility. Whether you are facilitating an evening of good food your guests didn’t have to cook, or an experience they couldn’t have on their own, you want them to participate and to enjoy doing so. The appetizer is your opening play and sets you all out on a particular path. (Note that I am focusing on providing a desirable experience, but this idea could be extended in other emotional directions such as fear [SCOBY finger food] or self-examination [plain-flavored popsicles]).

Your side dishes either do something your main dish can’t, or expand on its effects in order to provide a more well-rounded menu. Dessert is for scratching that itch that nothing else yet has, and the surprise is for fun.

Pick Your Tracks

Enter into your planning with a sense of zest. There are so many possibilities, and you get to curate them for your pleasure and that of your friends/audience. What do you look forward to hearing? What songs are new to your “liked” list? Do you have a go-to artist or track? What track has a section that stirs you? What else sounds like that?

Once you have something in mind, you can think about what purpose it serves, or what vibe it encourages. Is this a main dish (thematically strong enough to carry the mood)? A juicy surprise (no one but you would have picked that song next!)? The way you want to start the evening (an appetizer that is a crowd hit)? The way you want to end it (a dessert to linger on the palate)?

Then consider the roles you have yet to fill, and how they relate to each other. When you think of (or hear) one element, what feels like it should come next? If someone were making or playing this for you, what would you expect to eat or hear after it?

If your mind remains blank and your planning is going nowhere, think about your friends (or audience) and what they like. If you were their short-order cook (or deejay), what would they request?

Perhaps you have the opposite problem, and your list of possibilities is too long. Try going back to where you started, that first thing you felt sure about, and examine your list for what fits the very best.

Enjoy!

The very best fit could be what is most exciting, or most challenging, or most familiar. Try things on-- listen to them together. Alternatively, you can look at what you’ve assembled and divide it into sections (part one is uptempo, part two is downtempo) of an ongoing series of amazement, designed by you. You decide, it’s your party.

You may find Jane E. Werle stomping in a rainstorm or starting a dance party, if she’s not writing and editing for nonprofits or advocating for kids. Colorado-based, Jane prefers naps to marathons but is happy to go backpacking or sit in a creek. Jane received her MFA from Naropa University and is a frequent contributor to Presenting Denver, a comprehensive resource for dance in Denver and along the Front Range.

If there are questions you want to be answered in a blog post, let us know at info@fourwindfilms.com, or visit our website at www.fourwindfilms.com. Also, we work with a large, diverse community of crew and artists working in most aspects of the filmmaking process and are always happy to help make connections. And we are always building our community! Send us your work for review or feedback.

By Totemworlds

Every serious filmmaker knows that in movies, what we hear is just as important as what we see. Without music, our favorite films would lose their charm and emotional weight…even our characters would lose a bit of their essence. Thankfully, film composers exist, even though they’re always hiding in their studios, and their job is to unravel all feelings in your film, documentary, you name it!

As a filmmaker, you need to find a film composer who won’t just fill in the silence, but actually support your story in a meaningful way. I have working experience as a film composer and I wrote this short guide for filmmakers and enthusiasts with key tips on how to conceptualize and articulate musical ideas with their composers. Clear and effective communication between director and composer will ensure your film is everything you want it to be, so let’s get started!

Choosing the right composer

All musicians have unique backgrounds, it’s what defines their style and how they sound. Composers are no different, so keep your options open and take your time to listen to their previous work. Find a match for the sound you think would be best for your film. What style of music would be best? Does your budget allow for an orchestral sound, a small ensemble, or piano only? If you’re on a budget, composers can create what are called Orchestral Mock-ups. They’re a significantly cheaper alternative to recording a real orchestra while still sounding convincing. But does your film need music that will stand out or play more of a supportive role? Find a composer who will be versatile enough to do both.

Communicating With Your Composer

Spotting happens when a composer and/or a director decide upon where to (and not to) put music in the film. You’ll probably want to share your ideas right away, but I highly recommend you let the composer speak first. Their experience in the area and their experience in seeing your film for the first time could lead them to bring new ideas to the table. But if they ask for temp tracks then definitely provide them.

Temp tracks are songs that directors use temporarily on their film to give composers an idea of how they want the music to sound. Most composers love them, but some don’t. Just ask.

Don’t use musical terms to describe what you want

A composer’s job is to translate emotional terms into music, so don’t try to throw in musical terms at them, instead, speak to them in emotional terms. Talk in terms of intensity, and your composer will modify the instrumentation, mixing, and dynamics to match what you want. Talk in terms of movement, and your composer can use musical techniques to keep the momentum going, or make space for quiet time. You should also be clear if you want the music to sound close or play more of a supportive role.

Why (and when) to add a musical cue

Consider the following reasons to add music at any given moment of your film:

As a narrative tool: take music into consideration right from the start, as you write the script, this opens up new and exciting possibilities. Some of the most memorable moments in cinema rely on music to work. Some examples include a 2-note motif which foreshadows the shark’s arrival in Jaws; an unmistakable tune which plays in Kill Bill every time the protagonist sees her enemies; and who can forget the string players and their last repertoire near the end of Titanic, filling our hearts with empathy towards everyone on that sinking ship.
A motif is a recurring musical phrase.

Extrait de Titanic - James Cameron

To set the mood: music is just as important as color-grading and lighting for setting specific moods. And just like a colorist or lighting expert, a film composer will use every bit of information you give them to craft the right sound for a scene. Be clear about the mood you want to convey and include all the little details that make your scene unique. Music is so versatile that composers have a HUGE array of musical devices to work with, so having a pool of information to derive ideas from would help them focus their creativity.

Here’s is a very entertaining video showing the power of music over film.

To accompany our characters: in fiction, it is common practice for composers to assign musical ideas to any character, this is called a leitmotif; think of Darth Vader’s iconic theme in Star Wars and how menacing it makes him appear. It works for non-fiction too. A news anchor, for example, is greatly benefited from the show’s epic and suspenseful opening song that legitimizes not just the show but also its host.
To simulate the passing of time: music can be used to keep the momentum going, making sure there are no stagnant moments in your film. Any scene can be made suspenseful using music alone, and more excitement is always welcome. You can also use music as a way to transition to a new scene.

In conclusion

When incorporating a composer give them space to share their ideas, but be clear about how you want the audience to experience specific characters and moments. Work with the composer to figure out how best to communicate what you want, whether that’s by sharing examples of other films or music, details about your story and characters, or describing a feeling.

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If there are other questions you want to be answered in a blog post, let us know at info@fourwindfilms.com. In addition, we work with a large, diverse community of crew and artists working in most aspects of the filmmaking process and are always happy to help make connections. And of course, we are always building our community! Send us your work for review or feedback.

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