Hello and a happy crazy Monday to you and yours. Jaye is poking me, too much caffine she's had and too much sleep. This post is the long post-poned list of five albums that I love listening to when I'm writing emotionally, the touching Hallmark moment scenes. Right. We don't write many of those. The Writer is not especially sentimental, but music can go beyond our human failures. Do let me know if you have thoughts on these or what you listen to. I know there have been several blog conversations about film music being key to the writing process.
A Single Man by Shigeru Umebayashi -- music for circular motion if you ever write a scene that goes and goes and turns back to its beginning. The main theme is a waltz for the main character who lives one day of his life expecting to kill himself at the end.
Finding Neverland by Jan A.P. Kaczmarek -- this is one that Jaye has talked about and will continue to talk about until she dies or the internet becomes self aware and takes over the world. Its a piano score based in classical tones ranging from simple and spare to lush and full bodied reflecting the span of emotions in the film.
Coco Avant Chanel
Legend of 1900 by Ennio Morricone -- This one I've mentioned previously along with a music video of a significant scene. The Writer once wrote a paper for a college class about the importance of music in this film. It has a rich intertextual layer, meaning the music interplays with what is going on in the film as though it takes place within the film as another stream of dialouge. When you write what peices of culture do you pull in to provide new and hidden meanings to your stories? No character exists or grew in a void, even when the world is entirely created.
Ever After by George Fenton -- Ah the old 90's romance standby. There was a rumor back in the day that this film was supposed to be rated R. Can anyone speak to it? This score is full of long meditated notes reminicent of John Barry's Out of Africa coming into the story from the clouds. Fable and fantasy literally, but also the feelings of such that come out of delerious love or whimsical misadventures.
Over all, these films all fall under tones of mental introspection and emotional trauma of both the self-inflicted and the victim.They exist only loosely in reality and all play significant roles in the worlds they were created for. by Alexandre Desplat -- Another piano score though decidedly more melancholic. Think of this in the tones of drab rain-drenched French countryside. Its not sunny Italy where the company is friendly. If you're writing quitely devious and troubled character's this is your tone.