Music Tips for Filmmakers

We all know the Imperial March from Star Wars that plays practically every time we see Darth Vader on screen. This can be either a theme or a motif. Themes are well developed musical ideas – think the Raiders March from the Indian Jones movies. A motif is more of a snippet, it tends to be shorter than a fully developed theme, or sometimes it’s just part of a theme – think Jaws, all you need to hear is 2 notes and there it is. Using themes and/or motifs for specific characters can be a very effective way to further your story, but like all things, overdoing it can lessen the impact. Keep in mind not every character necessarily needs a motif, and you don’t have to use the motif every single time you see the character, you can keep it for key moments.

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“Hitting” or “stinging” is when the music comments on an action, cut or dialog that’s happening on camera. Hitting something in an obvious musical way can be very effective, for example that big scare in a horror film when a monster jumps up at a victim. But like so many things in life, all good things in moderation. Often it’s best to have subtle hits, where the music change is there but understated.

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Music can highlight specific moments, picture cuts, or even lines of dialog. Doing so is called “hitting” or “stinging” a moment. Be very judicial in what moments you want the music to hit. Too much and you risk the music feeling either “Mickey Mousey” (cartoony) or it can lessen the impact of the hits since there are so many of them. It’s like using too many exclamation points when writing. When you get it just right each hit will elevate and/or propel the story very effectively.

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Often called “Mickey Mousing” having the music closely follow the physical action of the characters on the screen can be an effective comedic tool, especially in animated films. It can even be used dramatically when done right, but if over-used it can come off as goofy and cheapen the scene rather than augment it.

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An example of commenting on a scene would be having sad music under sad dialog, or effusively heroic music under a heroic action scene, or comedic music accompanying physical comedy (slapstick, etc.). In the early days of film this was a very typical way of scoring movies – the music essentially mirrored what was on the screen. Today that approach tends to be avoided and seen as old-fashioned.  I believe it was the great Jerry Goldsmith who once said “Don’t’ score the man running, score WHY he’s running.”

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Thematic scores (think Raiders of the Lost Ark, Spider-Man, Bond movies) use distinct and recognizable themes and/or motifs to help tell the story. Atmospheric scores avoid strong memorable themes (they may still use motifs, but not as much if at all) but are more ambient and moody (think Gravity, Blade Runner, The Social Network, and so many horror films). Neither is better than the other, it’s a stylistic choice.

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This is true even where the whole point of the music entrance or end is to be very dramatic. For example, if the music starts on a startling action or picture CUT in a very loud and dramatic fashion, when done right the audience won’t notice that the music suddenly came in strong, they’ll just be startled by what’s happening on the screen. Same goes for creating a massive build into a climactic moment. If done right the audience shouldn’t notice that the music drops off suddenly, they should just feel the enormity and the shock of the moment. If you’re paying attention to the music, it’s probably not quite right yet.

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Music can inform the audience emotionally or manipulate emotions, it can highlight specific moments, it can establish the passage of time, it can misdirect the audience, it can setup thing to come, it can excite, it can establish a sense of time & place (historical era or geographical region), it can establish a sense of space, it can inspire, it can confuse, it can create relationships (using themes or motifs for specific characters or plot points), it can make us laugh and so much more. Whatever it’s function, music brings a psychological & emotional depth than nothing else can match.

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More often than not, music works best when it goes hand in hand with or REACTS to what’s happening on the screen. If the music is ahead of the action it can lessen the impact of the story by tipping off some of the audience or worse, by giving away what’s about to happen.

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Deciding WHERE to have music and where not to is crucial to telling YOUR story. Music placement can impact the way you’re telling your story immensely.

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