Usually when I am approached to do a score for a horror movie, it's to attempt a repeat performance of what I did way back on 'Hellraiser' or 'Jennifer 8' - one of those really orchestral scores.
Sentiment: NEGATIVE
In a film score, the last thing you want to do is take people out of the movie. The music is secondary. In opera, the music is the main event.
And I think that I'd be a natural for scoring horror movies.
The score, which comes often quite later in a film, can help reinvigorate your emotional engagement with it.
My favorite film score is the one Thomas Bangalter created for 'Irreversible.' The soundtrack absolutely defines the daymare-into-nightmare feeling you get from the film.
In horror movies, you can write music that if it was performed on the concert stage would have the audience running out of the room with their fingers in their ears. But in a movie, all of a sudden it becomes incredibly accessible and appreciated.
For a director, a musical is a special kind of hell.
Most often the music does end up in the movie, and sometimes there's a point where I wish that it wasn't, just because I think the score would be more effective if there was less of it. But, again, that's not my call.
I'll probably always write film scores. It's the one place where a composer has almost unlimited resources at his beck and call. When music you have written works well in a film, nothing can beat it.
A good film demands its own score, and if you are a musician, your conscience will never allow you to do something mediocre for a good film.
I cannot state enough how important post-production is for the success of a horror movie. You bring so much to it with the way you edit it, the way it is sound-designed, and the way the music works with it.
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