作曲家如何接近有争议的评分和自然文档争夺奖励考虑
How Composers Approached Scoring Controversial and Nature Docs Vying For Awards Consideration
自然纪录片，真正的犯罪，甚至是关于儿童性虐待的有争议的故事 - 他们都需要音乐，这个电视季节提供了各种背景的作曲家提供出色的成绩。 “离开”），他的第一个医生作业是HBO系列“ Allenv。Farrow”，概述了对伍迪·艾伦的案件，他的养女迪伦·法罗（Dylan Farrow）指责董事在7岁时虐待她。 “ Allenv。Farrow”中的音乐支持“报告”片段。 “音乐帮助我们听到了故事的那部分，给了它动力和方向。”阿伯尔斯说，他邀请了一个由40名成员的弦乐合奏从布达佩斯录制和表演。偶尔的单簧管独奏，以及30年代和40年代风格大乐队的数字，让观众想起了艾伦自己的音乐品味和曼哈顿爵士乐俱乐部的表演。但是，最敏感的材料毫无疑问。 “当你看到一个小女孩说话时关于发生的事情，” Abels说，“这不需要更多的情感重点就能引起观众的共鸣。唯一的解决方案是唯一的解决方案。奈尼塔·德赛（Nainita Desai）找到正确的音乐方法。“对我来说，真实性和以正直对待主题是最重要的事情，”她说。导演珍妮·波普尔韦尔（Jenny Popplewell）“不想像怪物一样对待[丈夫和杀手]克里斯·瓦茨（Chris Watts）。我们应该专注于受害者。 [电影]几乎是敬意。她通过这些第一手证词重新栩栩如生。这部电影，Shanann Watts的许多屏幕上描绘了给丈夫和朋友的短信。 Desai说：“我播放了手机作为乐器，通过用手指敲击电话来创造打击乐节奏。” “这是一种将观众与屏幕上发生的事情联系起来的方法。这两部大卫·阿滕伯勒（David Attenborough）托管的自然电影在今年的纪录片得分类别中也笼罩着大巨大：“大卫·阿特伯勒（David Attenborough）：我们星球上的生活”和“一个完美的星球”和“一个完美的星球”，这两部戴维·阿滕伯勒（David Attenborough）托管的自然电影和“完美的星球”和“完美的星球”，这两部电影也有助于使这些时刻栩栩如生。与英国作曲家史蒂文·普莱斯（Steven Price）和伊兰·埃什克里（Ilan Eshkeri）的音乐。 Price指出，两者都是Attenborough Docs的退伍军人（价格为“我们的星球”，Eshkeri的“大堡礁”）。90分钟的“我们星球上的生活”更像是一篇个人文章。 “这是大卫第一次站在镜头前，说了他的想法，对这一切的现实诚实[地球的环境危机]。因此，音乐必须感到适合他。他自己的唱片库比我们在大型自然历史节目中所做的范围要小的室内音乐。普莱斯（Price）在2020年3月的伦敦锁定（London Lockdown）之前设法录制了这一切 - Abbey Road的Studio 2中的38位音乐家，所有弦乐和一组手工挑选的独奏家。 “在第二天，大卫进来，发表了最辉煌的演讲。我们开始了下一张，这比他说话之前的三倍！主题 - “关于大自然母亲，地球，这是一个非常简单，几乎像赞美诗的作品” - 他发现他的女儿开始在房子周围唱歌。他安排了六所伦敦学校的儿童合唱团来表演它。在锁定之前记录了两集，因此其余的剧集是在冰岛记录的弦乐部分，以及各种黄铜和木管乐器独奏家在他们的H中远程演奏ome，全部混合在一起。他说：“它最终比我预期的要比我想预期的要多，但是所有的作品都以键盘和吉他的方式开始，更像是一种流行的方法，所以我们无法将所有乐器都拿到同时一个房间。”
Nature documentaries, true crime, even controversial stories of child-sexual abuse — they all need music, and this television season offered composers of varied backgrounds supplying outstanding scores.
“Really, you’re writing a concerto for dialogue,” says Michael Abels (“Get Out”), whose first-ever doc assignment was the HBO series “Allen v. Farrow,” which outlined the case against Woody Allen, whose adopted daughter Dylan Farrow has accused the director of abusing her at age 7.
Most of the music in “Allen v. Farrow” supports the “reporting” segments. “Music helps us hear that part of the story, giving it momentum and direction,” says Abels, who enlisted a 40-member string ensemble to record and perform from Budapest.
The occasional clarinet solo, and ’30s- and ’40s-style big-band numbers, reminded viewers of Allen’s own musical tastes and Manhattan jazz-club performances.
The most sensitive material, however, went unscored. “When you see a little girl talking about what happened,” Abels says, “that does not need more emotional emphasis to resonate with an audience. An extremely light touch is the only solution.”
An actual solved crime, the 2018 murders of a Colorado housewife and her two daughters, was the subject of Netflix’s “American Murder: The Family Next Door,” and it fell to London-based composer Nainita Desai to find the right musical approach.
“For me, authenticity and treating a subject with integrity is the most important thing when working on a documentary,” she says. Director Jenny Popplewell “did not want to treat [husband and killer] Chris Watts like a monster. We should be focusing on the victim. [The film] is almost an homage; she’s coming back to life through these first-hand testimonies.”
The pandemic forced Desai into a more intimate sound to tell the story: five string players from the London Contemporary Orchestra plus her husband on bass, along with a unique use of percussion.
Throughout the film, Shanann Watts’ many text messages to her husband and friends are depicted on screen. “I played the mobile phone as a musical instrument, creating percussive rhythms by tapping on the phone with my fingers,” says Desai. “It was a way to connect the audience with what was happening on screen. It helps bring those moments to life and seem more visceral and real.”
Two David Attenborough-hosted nature films also loom large in this year’s documentary-score category: “David Attenborough: A Life on Our Planet” and “A Perfect Planet,” with music by British composers Steven Price and Ilan Eshkeri, respectively. Both are veterans of Attenborough docs (“Our Planet” for Price, “Great Barrier Reef” for Eshkeri).
The 90-minute “A Life on Our Planet” is more of a personal essay, Price points out. “It’s the first time David has stood in front of the camera and said what he thinks, been honest about the realities of it all [Earth’s environmental crises]. So the music had to feel appropriate for him. His own record library contains a lot of chamber music, on a smaller scale than we’ve done on the big natural history shows. That was my starting point.”
Price managed to record it all just before the London lockdown March 2020 — 38 musicians in Abbey Road’s Studio 2, all strings and a group of hand-picked soloists. “On day two, David came in and gave the most brilliant speech. We started the next take and it [was] three times louder than it was before he spoke!”
Eshkeri’s 5-year-old daughter helped him decide on the sound for the five-hour “Perfect Planet.”
As he was writing the main theme — “about Mother Nature, the planet Earth, a quite simple, almost hymn-like piece” — he discovered that his daughter began singing it around the house.
He arranged for children’s choirs from six London schools to perform it. Two episodes were recorded prior to the lockdown, so the remaining ones featured a string section recorded in Iceland and various brass and woodwind soloists playing remotely in their homes, all mixed together. “It ended up being more orchestral than I had intended,” he says, “but all the pieces started off with keyboards and guitars, more like a pop approach, so it didn’t matter that we couldn’t get all the instruments in a room at the same time.”
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发表于 2022-7-5 08:49:17
发表于 2022-12-5 19:06:02