British Kinematography (1950)

146 BRITISH KINEMATOGRAPHY Vol. 16, No. 5 The Composer's Approach The composer, having read the script, will have formed some ideas as to the character of the music he is to write, and will probably make some sketches. The composition cannot be finished until the picture is cut, and even then it is subject to continual alteration to which 1 will refer later. Some composers work very quickly, others, like for instance John Ireland, are slow and timorous. In my capacity as Music Director I do my best to help bring the personality of the composer into direct touch with his job, and to explain the modifications necessary for successful dubbing. Dr. Clifford in his lecture mentioned Vaughan Williams' music to " Scott of the Antarctic." Immediately it was decided to make " Scott " 1 suggested that Vaughan Williams was the one man in the world to compose the score, if he were willing to do it. I sent him the script and at a conference at Ealing he described his musical scheme in detail. It was approved with enthusiasm, although at that moment nothing existed of the picture, except a few location shots. About a fortnight after this conference, I had sent to him some rough timings of the scenes. Vaughan Williams had, however, already sent pianoforte sketches and the full score of the entire work — about 50 minutes of music, scored for an orchestra of 80 and covering all the dramatic scenes. Naturally, all this music was not included in the film, but in my opinion too much of it was cut. How closely the composer got to the spirit of the film is shown by this extraordinary and, in my experience, unique development. He had written Main Title music for which his only direction from me was that it must last about 1 30 feet ; it described the struggle of man against nature. The music was dubbed over the scene of climbing the Great Glacier, which, of course, the composer had never seen. It fitted absolutely : not a note was altered. Provided the right composer is agreed upon it is a comparatively easy matter to get his music fitted and the orchestration modified to fit the picture for the recording sessions. Directors vary very much in their musical ideas, and while some of them are abashed by the psychological heroism involved in criticising music in front of 80 musicians, others cheerfully suggest changes that would take a week to make. I am fortunate in working with a sympathetic and musical Chief of Sound, Mr. Stephen Dalby. Accuracy of Timing We have not, so far, made at Ealing any film which demands the use of click-tracks and the other mechanical gadgets beloved by Hollywood. I am against any delegation of authority which in any way lessens the control of the conductor over the sound that goes on to the track. A year or two ago a mission was sent to Hollywood and came back with full details of American methods in the recording studio. It seemed to me that if these were put into full effect, all the conductor would have to do would be to listen through earphones to the pips, and beat the correct number of beats in the bar. Now I agree with Malvolio in his criticism of Pythagoras, I think nobly of the human soul and in no way approve of fettering it with mechanics of this kind. The reaction between the conductor and the orchestra, and even more the reaction of the members of the orchestra to one another, is far more valuable and important than dull, hidebound mechanical accuracy. May 1 explain my own methods of achieving synchronisation. Timing Sheets The composer having been decided upon, I see the picture with him in company of the director, producer and editor, and discuss where the music should come and what kind of music it should be, and timing sheets are