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Author	Topic: Amenabar“s way of making movies...

Philipp Standard Userer	That is funny. Alejandro Amenabar, known as a score-fanatic, has made life easier for his actors during shooting, in playing old horror-scores on a transportable cd player. During the behind the scene-scenes I saw various VARESE-CD“s lying on the monitors. Amenabar had the cd player on his lab, while directing from his chair. Any directors you know do it the same way? Best Wishes Philipp np: the others (alejandro amenabar)
posted 06-19-2003 01:11 PM PT (US)

scoreman Standard Userer	I remember in the director's commentary for "The Rock", Michael Bay said that he played Zimmer's Crimson Tide for actor Michael Beihn to inspire the "macho" feeling Bay was going for when Beihn's character gives his speech to the navy seals before they set out on their mission. matt
posted 06-19-2003 06:32 PM PT (US)

Graham Watt Standard Userer	Philipp, does Amenįbar really play those old scores during shooting to get the actors into the mood? I know he's a film music nut, but I didn't know he did that. This may not be what you're talking about, but something tells me that on Morricone-scored films, the directors have played previously-written Ennio stuff during shooting - but perhaps only demos of the film being shot. I could be wrong. And wasn't Goblin racket played in the making of some of Dario Argento's shoots? Now I might just be making things up. According to the latest FSM, for THE LIFE OF DAVID GALE Alan Parker used music written (by his sons) for the shoot itself, in order to set the mood for the actors. It later turned into the score itself. But, as I say, that may not be what you're on about. To get back to Amenįbar, I suppose those old scores he plays then becomes the temp? I wouldn't be surprised - Jerry Goldsmith's shadow (though not necessarily his SHADOW) hangs over much of the director/composer's work. FREUD, THE OMEN and BASIC INSTINCT are all over THE OTHERS, and particularly ABRE LOS OJOS (OPEN YOUR EYES - great film by the way). I think Amenįbar is a great director, but also a great composer. He gives space to his solo instruments, something which surprised me given his musically untrained background - it would seem more predictable to hear a wash of synths. Anyone heard his replacement score for LA LENGUA DE LAS MARIPOSAS (BUTTERFLY'S TONGUE)? That's really nice. I suppose Elmer Bernstein might be another of his old favourites, because it smacks of TO KILL A MOCKINBIRD. This score replaced Angel Illaramendi's original (music later released under the title "Una Historia Reciente"). Illaramendi's was wonderful, but it may have been deemed too heavy for the film. Amenįbar's replacement is much less dense.
posted 06-26-2003 04:19 PM PT (US)

franz_conrad Standard Userer	Kubrick did a lot of 'mood music' work with people in his films. Keir Dullea, who played Dave Bowman in 2001, recounts in one biography of the grand old man that the close-up work done in the stargate sequence of 2001 was shot with Vaughan-Williams' score/symphony for Antarctica playing in the background. And now that I think about it, I recall Hans Zimmer mentioning that some of his music was played on set of The Thin Red Line. [Message edited by franz_conrad on 06-27-2003]
posted 06-27-2003 04:19 PM PT (US)

Hornerfan Standard Userer	Graham: Regarding Morricone, for Leone's DOLLARS TRILLOGY and ONCE UPON A TIME IN THE WEST, Morricone wrote and recorded his entire score in advance of shooting. Then, Leone played the appropriate cue during the appropriate time while the actors were filming the scene for which the cue was written (whew, what a sentence!). It's an interesting way of doing things, for sure. Mike
posted 06-28-2003 08:50 AM PT (US)

Graham Watt Standard Userer	That might be what I'm thinking of, Mike. No more examples of directors using previously composed music for OTHER FILMS during the shoot?
posted 06-29-2003 03:08 PM PT (US)

franz_conrad Standard Userer	Another Kubrick example I recall is the use of Profokiev's score to Alexander Nevsky while filming 2001, possibly also for Spartacus. Apparently Martin Scorsese used Delerue's score for Camille as a mood setter for some domestic scenes in Casino. The beautiful theme for Camille is tracked over two scenes in the final print of the film. NP Samsara (Morin) [Message edited by franz_conrad on 06-29-2003]
posted 06-29-2003 03:19 PM PT (US)

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