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De-sign presentation notes

1. Introduction

a. the state of the Australian industry and its resistance to experimentation
b. the communication breakdown at the director/composer nexus
c. the fusion of 'film score' (music) and 'sound design' (sound) in the film soundtrack
d. methods of integrating the soundtrack into the filmmaking process effectively, economically and imaginatively

2. Paradise
Film score & sound design for 16mm short directed by Illana Schulman & produced by Lizzette Atkins - 1998

a. Invitation to provide score after original composer resigned
b. Challenge of composing music for a highly symbolic narrative as opposed to naturalist drama
c. Recognixing the film's Baroque detailing, sensual density of film & reference of high-icons
d. Developing idea of sono-musical icons of poetic metaphor to match film's highly iconic style & composing sketches accordingly
e. Presentation of sketches to director with anootated description of sketches + allowance of time for comprehension
f. Importance of finding common ground for understanding = ease of dialogue
g. Allowing director to decide on placement of sketches
h. Working with director in multi-track environment to refine sketches and their placement

3. Blow
Film score & sound design for 16mm short directed by Marie Craven & produced by Lizzette Atkins - 2001

a. Discussions with director on cinematic references >> John Hughes 80s teen movies and their use of 'pop song scoring'
b. Development of sketches to provide director/editor during fine cut
c. Director's selection of sketches + problems in refining placement of music
d. Solution in refining sketch selection through combining two songs into one >> creation of a single track/theme for the whole film, but one which is broken down into separate components at different points/stages of the story
e. Symbolic function of using the 'single track/theme' to convey central theme of teen sexuality in film's story

4. Whispering In The Dark
Film score & sound design for 16mm short directed by Lynne B. Williams & produced by Aida Innocente - 2002

a. Original commission based on providing a sound design with no music
b. Importance of voice-over monologues throughouit film >> importance in recording these monologues before shooting so as to provide actors with frame of reference for their 'thoughts' while performing on camera
c. Viewing of fine cut sugggests completely new approach as timing of performers' movements and the editing of images/scenes imbues film with balletic/chorepgraphed tone
d. Composition of 3 sketches based on breathing rhythms of performers + testing timings against film edit
e. Due to rhythmic continuity through film by director, music sketches can 'breathe' on screen while the performers and narrative unfolds

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