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What have you temped it with, and do you like the temp?.Do you have any scores that come to mind when thinking about what you’d like?.What kind of scale or size are you looking for?.Are there any instruments or sound you really like, and any you really hate?.Did you have an idea of what kind of instruments you’d like?.What do you see as the purpose of the score?.If you speak avoid trying to second guess the director or producer, you should try and restrict your input to asking questions, and if they don’t understand them, help them understand by providing contextual examples. Get the information you need from your director and producer so that your initial submissions are not massively wide of the mark. It is very difficult to listen when you are speaking, so it is recommended you try and curtail this activity at a creative briefing in favour of listening.
#Architecture 101 ost professional
You are a conduit for creating music from their description, and briefing, and for the producer, responsible for delivering on time and to the correct technical specifications and high quality bar expected of a professional music department. There is an inbred distrust in what we do (“you have to keep those guys close, they change shit up” - Terry Gilliam) so it is the primary job of a head of department (HOD) whether that be a music editor, supervisor, or composer, to make sure the director feels that you are merely an extension of her or his vision. Establishing a lingua franca is crucial to a successful collaboration. You should retort “well they say talking about music is like dancing about architecture”.
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The first thing most directors and producers will say to you is “excuse me I find it really difficult to talk about music”.