Filmmakers Feedback is part of the Film Scoring Tips labs. Make sure you check the other series out and help us shaping our future content.

David O’Reilly

Our guest for episode XI is filmmaker David O’Reilly (Kubrick By Candlelight).

Episode VIII – scene assignment

Would you like to have our guest assess your music during the episode? Check out this month’s assignment and submit your track using the form you can find further down.

Watch the clip selected by David from his film “Kubrick By Candlelight” and find the instructions to submit your track below.

You can download a copy of the above video here:

https://mega.nz/#!JIEXyIBD!vxwdv4s9QTHYBufKO1LwFs2Hx-MsywWCe8tzJR4CXxA

David asked us to share the following instructions: What I was looking for in this scene is a sense of foreboding which explodes in to a barn storming amateur, messy fight between two love rivals, the culmination of much pent up aggression. The brief to the actors on the day was Hugh Grant and Colin Firth fighting in Bridget Jones Diary. The brief to the composer was music used in the fight in The Quiet Man. Remember this is a light hearted romantic comedy (with about 90 Kubrick references), set behind the scenes of Kubrick’s filming of Barry Lyndon in Ireland in 1973.

A few recommendations

We kindly ask you to submit music you specifically create for this episode. Anything that we deem to be out of context will not be considered.

The submission form also serves as a legally binding license assignment document. Therefore we kindly ask to only submit music you own in its entirety. However we only ask for a non-exclusive license, meaning you will still be able to use the music on other projects.

The file format must be MP3 and the file-size must be under 5MB. In case you come up with a larger file-size please re-compress it using a lower bitrate. To make sure we’ll sync your music correctly please include the sync pop that you can hear on the number “2” of the initial countdown (at timecode 00:59:58:00), and the one at the end.

Deadline

Please submit your track by Thursday March 5 at 11:59PM (GMT).

Submit your music here

Please use the form below to submit your music:

If the form should not work with your device/browser please use this page instead.

Good luck

We will only play a few submissions during the show and we will assess tracks in the order they are submitted. Thus we advice submitting your track as soon as possible. Good luck!

The post FMF episode XI – submissions closed appeared first on film scoring tips.

Filmmakers Feedback is part of the Film Scoring Tips labs. Make sure you check the other series out and help us shaping our future content.

Mac Montero

Our guest for episode X is filmmaker Mac Montero (My Hero, The Agency).

Episode X – scene assignment

Would you like to have our guest assess your music during the episode? Check out this month’s assignment and submit your track using the form you can find further down.

Watch the clip selected by Mac and find the instructions to submit your track below.

You can download a copy of the above video here:

https://mega.nz/#!NQsFmC6D!XHQabcciK6b_iWtZSkCjy49EFbzG4xYDXGmOZrUX-_k

Mac asked us to share the following instructions:

The main feeling that needs to be evoked is melancholy – this is about a girl that doubts her beauty and a boy that plays with those feelings. It’s real and hurtful. Something that people try to take the importance out of but really it is important.

A few recommendations

We kindly ask you to submit music you specifically create for this episode. Anything that we deem to be out of context will not be considered.

The submission form also serves as a legally binding license assignment document. Therefore we kindly ask to only submit music you own in its entirety. However we only ask for a non-exclusive license, meaning you will still be able to use the music on other projects.

The file format must be MP3 and the file-size must be under 5MB. In case you come up with a larger file-size please re-compress it using a lower bitrate. To make sure we’ll sync your music correctly please include the sync pop that you can hear on the number “2” of the initial countdown (at timecode 00:59:58:00) and the one at the end of the clip.

Deadline

Please submit your track by Thursday February 19 at 11:59PM (GMT).

Submit your music here

Please use the form below to submit your music:

If the form should not work with your device/browser please use this page instead.

Good luck

We will only play a few submissions during the show and we will assess tracks in the order they are submitted. Thus we advice submitting your track as soon as possible. Good luck!

The post FMF episode X – submissions closed appeared first on film scoring tips.

Filmmakers Feedback is part of the Film Scoring Tips labs. Make sure you check the other series out and help us shaping our future content.

Laura Scrivano

Our guest for episode IX is filmmaker Laura Scrivano (Invisible, Hanna, The Letdown).

Episode IX – scene assignment

Would you like to have our guest assess your music during the episode? Check out this month’s assignment and submit your track using the form you can find further down.

Watch the clip selected by Laura from her film “Ricochet” and find the instructions to submit your track below.

You can download a copy of the above video here:

https://mega.nz/#!lVd1RAKZ!5fB2yBp53GSFhQpZrew5XN8ie0fs3EZciU4cD9N2LbY

Laura asked us to share the following instructions:

Here is a synopsis of Ricochet

Ricochet is the beginning and end of a love story. Agnes is leaving Gael, suddenly, and without explanation. Told across two time spans, through a series of vignettes, Ricochet is about the tricks of time, perceptions of love and memory’s persistent invasion of reality. Sometimes life can only be understood backwards. Unfortunately, it has to be lived forwards.

and a few thoughts on the music:

Ricochet is about memory and the way we perceive time. Music is central to this narrative as music is deeply intertwined with how our neurons process memory. The music in Ricochet needs to do more than simply set a tone or mood – its cue points are part of the storytelling structure and part of the way the characters experience this opening scene – both in real time, and then again in reverse. Much of the story takes place in Gael’s memory, it is his romanticizing of the relationship which perhaps drives the music.

A few recommendations

We kindly ask you to submit music you specifically create for this episode. Anything that we deem to be out of context will not be considered.

The submission form also serves as a legally binding license assignment document. Therefore we kindly ask to only submit music you own in its entirety. However we only ask for a non-exclusive license, meaning you will still be able to use the music on other projects.

The file format must be MP3 and the file-size must be under 5MB. In case you come up with a larger file-size please re-compress it using a lower bitrate. To make sure we’ll sync your music correctly please include the sync pop that you can hear on the number “2” of the initial countdown (at timecode 00:59:58:00).

Deadline

Please submit your track by Thursday February 13 at 11:59PM (GMT).

Submit your music here

Please use the form below to submit your music:

If the form should not work with your device/browser please use this page instead.

Good luck

We will only play a few submissions during the show and we will assess tracks in the order they are submitted. Thus we advice submitting your track as soon as possible. Good luck!

The post FMF episode IX – submissions closed appeared first on film scoring tips.

Filmmakers Feedback is part of the Film Scoring Tips labs. Make sure you check the other series out and help us shaping our future content.

Ana Pio

Our guest for episode VIII is filmmaker Ana Pio (Eden, Ode, I Welcome You to This House).

Episode VIII – scene assignment

Would you like to have our guest assess your music during the episode? Check out this month’s assignment and submit your track using the form you can find further down.

Watch the clip selected by Ana from her film “Ode” and find the instructions to submit your track below.

You can download a copy of the above video here:

https://mega.nz/#!QM0kEYAT!yP5qOPg7dppAFwvxQLAn9w-CY-AWusyl1ynsfQ8OAII

Ana asked us to share the following instructions: We used a temp music – https://www.youtube.com/watch?v=0tBam6qXVDg -, which allowed us to edit the film to its pacing, for about: 58 seconds – introduction 50 seconds – development 40 seconds – conclusion. We are looking for the same sort of feeling that the temp music brings to the narrative, but with your personal touch.

A few recommendations

We kindly ask you to submit music you specifically create for this episode. Anything that we deem to be out of context will not be considered.

The submission form also serves as a legally binding license assignment document. Therefore we kindly ask to only submit music you own in its entirety. However we only ask for a non-exclusive license, meaning you will still be able to use the music on other projects.

The file format must be MP3 and the file-size must be under 5MB. In case you come up with a larger file-size please re-compress it using a lower bitrate. To make sure we’ll sync your music correctly please include the sync pop that you can hear on the number “2” of the initial countdown (at timecode 00:59:58:00).

Deadline

Please submit your track by Thursday January 30 at 11:59PM (GMT).

Submit your music here

Please use the form below to submit your music:

If the form should not work with your device/browser please use this page instead.

Good luck

We will only play a few submissions during the show and we will assess tracks in the order they are submitted. Thus we advice submitting your track as soon as possible. Good luck!

The post FMF episode VIII – submissions closed appeared first on film scoring tips.

Filmmakers Feedback is part of the Film Scoring Tips labs. Make sure you check the other series out and help us shaping our future content.

Iria Pizania

Our guest for episode VII is filmmaker Iria Pizania (China Doll, Tutu & Pointes).

Episode VII – scene assignment

Would you like to have our guest assess your music during the episode? Check out this month’s assignment and submit your track using the form you can find further down.

Watch the clip selected by Iria from her latest shortfilm “Working Late” and find the instructions to submit your track below.

You can download a copy of the above video here:

https://mega.nz/#!kEFARSSZ!ke1Ym6jP_Oi52yFC8phdj9Zc2h3v3QFINSEatT3urng

A few recommendations

We kindly ask you to submit music you specifically create for this episode. Anything that we deem to be out of context will not be considered.

The submission form also serves as a legally binding license assignment document. Therefore we kindly ask to only submit music you own in its entirety. However we only ask for a non-exclusive license, meaning you will still be able to use the music on other projects.

The file format must be MP3 and the file-size must be under 5MB. In case you come up with a larger file-size please re-compress it using a lower bitrate. We’ll sync the submitted track with the very first frame of the video clip so please export your music accordingly.

Deadline

Please submit your track by Friday December 6 at 11:59PM (BST).

Submit your music here

Please use the form below to submit your music:

If the form should not work with your device/browser please use this page instead.

Good luck

We will only play a few submissions during the show and we will assess tracks in the order they are submitted. Thus we advice submitting your track as soon as possible. Good luck!

The post FMF episode VII – submissions closed appeared first on film scoring tips.

Filmmakers Feedback is part of the Film Scoring Tips labs. Make sure you check the other series out and help us shaping our future content.

Nigel Mattison

Our guest for episode VI is filmmaker Nigel Mattison (Rocketman, Kingsmen: The Golden Circle).

Episode VI – script scene

For some context here is a log line for the project from which the scene below has been selected:

Film composer Grace Derbini relives the true story of her Grandfather Arkady Derbini, a Juhiri Jew, as she conducts an orchestral recording session for a movie based on his struggles during the Russian Revolution of 1917.

Please read the following scene and the brief provided by Nigel below:

ARKADY
God sent you so that my journey would continue.

HANNIBAL
Continue for what?

ARKADY
I’m not sure yet, but it must be something important.

HANNIBAL
Horse scheisse!

ARKADY
You don’t believe you are part of a bigger plan?

HANNIBAL
Life is here for the taking, and every opportunity should be taken when it presents itself.

(BEAT)

The story of my life is always mine to be written. As is yours.

ARKADY
There is more. Life, the planets, the stars – it’s a miracle.

HANNIBAL
You are confusing wonder with miracle. There are billions, trillions of creatures on this Earth. It’s over whelming enough without throwing divine entities into the mix.

(BEAT)

I was an aide to the German Ambassador in the British Raj, you know every town, every village, every family worshipped a different god. There are literally thousands to choose from – you want more cows milk there’s a god for that, you want more rain or more sun there are god’s for that, more food, less food, more women to marry, more men to die in wars, whatever you so wish…just pray to some god.

ARKADY
Thousands of gods?

HANNIBAL
We evolved ourselves this big beautiful brain and we’re shaping the world in our vision. All this stuff, this and this, boxes, trains, buildings, religion, slaves, war are merely constructs of our collective imagination.

ARKADY
What about the stars and the planets? Man did not construct nature.


HANNIBAL
No but maybe man invented God so that he had a could tear nature down. I don’t have all the answers yet, but, without choice you are just a leaf in the wind destined for the whim of those who are prepared to blow. That’s why I am going home.

Arkady reflects upon the Prussian’s words. And SONATA (CODA).

INT. STEAM LOCOMOTIVE. GOODS CARRIAGE – DAWN 62

Arkady peers out to see many men standing on a frozen lake, next to holes – fishing. He smiles and looks to Hannibal, who remains asleep. He pulls out the diamond and loses himself in its glow. Hannibal stirs.

The train shudders to a stop, Arkady drops the diamond and it rolls away from him and towards Hannibal, slowly, slowly and it stops by Hannibals hand. Arkady jumps up and grabs the diamond, but falls over Hannibal’s feet, waking him. Hannibal’s suspicions are arisen by Arkady, but he hears, as we do, voices from outside the carriage. Hannibal peeks out to see SOLDIERS heading their way.

INT. TRAIN CARRIAGE – JUST THEN
The soldiers open the carriage doors to find the place covered in mess.

This scene discusses one of the themes of the film – is one’s destiny man made, or is it in the hands of the gods? Do you make your own luck, or is everything out of your control and already pre-destined?

This scene is really the first time Arkady fully questions himself and his beliefs, as it’s the first time he’s come across someone who believes the opposite.

I feel that whatever key musical ’theme’ for the movie would exist for Arkady’s character, this point is where it could develop, change as Arkady is changing. Perhaps the right word to use would be awakening.

The touchstone I always have for these type of scenes is from Raiders of the Lost Ark– when in the first Act Indiana meets the Army Intelligence Officers at his college. The ‘Mission’ Scene (15:24 – 20:25).

During the scene Indiana explains what the Ark is and why it could be important…and also dangerous. The music (growing from 19:48) turns from being mystical, supernatural, even of awe, to a slightly darker colour – one of danger, dread and intrigue. I think it’s fabulous!

Duration: MAX 2 minutes.

A few recommendations

We kindly ask you to submit music you specifically create for this episode. Anything that we deem to be out of context will not be considered.

The submission form also serves as a legally binding license assignment document. Therefore we kindly ask to only submit music you own in its entirety. However we only ask for a non-exclusive license, meaning you will still be able to use the music on other projects.

The file format must be MP3 and the file-size must be under 5MB. In case you come up with a larger file-size please re-compress it using a lower bitrate.

Deadline

Please submit your track by Friday October 25 at 11:59PM (BST).

Submit your music here

Please use the form below to submit your music:

If the form should not work with your device/browser please use this page instead.

Good luck

We will only play a few submissions during the show and we will assess tracks in the order they are submitted. Thus we advice submitting your track as soon as possible. Good luck!

The post FMF episode VI – submissions closed appeared first on film scoring tips.

Filmmakers Feedback is one of the new Film Scoring Tips Labs series. Make sure you check the other series out and help us shaping them.

Paolo Rotondo

Our guest for episode IV is writer, director and actor Paolo Rotondo (Orphans & Kingdoms).

Episode IV – script scene

Please read the following scene and the brief provided by Paolo Rotondo:

INT. FARM. CASSINO. ITALY 1944. DAWN

The dim half-light of dawn seeps through cracks in an ancient stable door. A proud ROOSTER prances in the dust at the threshold.

A noise suddenly startles the ROOSTER. He crows nervously, flaps his wings and scampers into the safety of the shadows.

Two enormous army boots come to a halt at the stable doors. They old wood creeks as the doors open, revealing: ANARU (an enormous Maori soldier). His blood-shot eyes fixed on the ROOSTER. His uniform is bloodstained and filthy from battle. He carries a rifle slung over his back, the 28th MAORI BATTALION EMBLEM on his right shoulder.

ANARU carefully props his rifle against the stable door. The ROOSTER clucks betraying his hiding place.

Unaware to ANARU in one of the stalls a stack of hay shifts. SALVATORE (a disheveled civilian) is also watching the ROOSTER. He raises his eyes to the heavens crossing himself with gratitude. Both men unaware of each other as their eyes follow the ROOSTER’S movements.

ANARU lunges at the ROOSTER.

The bird easily avoids capture scampering away.

ANARU lands hard in the dirt.

Clucking mockingly the ROOSTER bolts out through the stable doors.

Terrified, SALVATORE glares at the large intruder.

Before ANARU can raise his exhausted body from the ground SALVATORE seizes the opportunity. He vaults out of the haystack with his RIFLE aimed squarely at ANARU’S head.

ANARU looks up, only to find himself staring down the barrel of a rifle.

SALVATORE
Mani in alto! Prigionero!
Hands up! You are my prisoner!

ANARU scans the man in civilian clothes standing over him.

ANARU
Par-ti-giano?
Partisan?

SALVATORE shakes his head.

SALVATORE
No! Non sono un Partigiano!
No! I’m not a Partisan!

ANARU
Fascist?!

SALVATORE spits into the dirt.

SALVATORE
No, non sono Fascista!…ero fascista… ma adesso, no!
No, I’m not a Fascist!…I was a Fascist…but not now!

Confused ANARU shakes his head.

ANARU
Kei tehea taha koe?
Whose side are you on?!

SALVATORE
Che cosa?
What?

ANARU
He aha?
What?

Frustrated.

SALVATORE
Non ho capito!
I don’t understand.

ANARU
Kaore au i mohio!
I don’t understand!

SALVATORE
Che cosa??
What??

ANARU
Kei tehea taha koe e whawhai ana?!
Whose side are you fighting on?!

Frustration grows on SALVATORE’s face. He barks angrily at ANARU.

SALVATORE
Ma che cazzo stai dicendo!
What the fuck are you saying!

The tone of the entire film is set in this simple scene.

A balance between true suspense with jeopardy and an ironic comedic absurdity can be established here by the music.

The scene and its action will be played with all the seriousness, sense of danger and peril as an action film, yet it should be the music that hints at the comic absurdity of the situation.

The rooster, the enormous Maori warrior and the Italian deserter could each have a sense of their own theme.

The period of the film is 1944, obviously a WW2 film, however the traditional musical tropes from this period are not appealing to me.

I am looking for something that approaches the grandioseness of a Spaghetti Western. Where humour absurdity and violence are intermingled.

Please try and break up the scene into the different sections to create up suspense and build toward the attack.

We can imagine this as the very first scene of a film where the Film’s main theme Music begins to play immediately after this initial scene ends.

Duration: MAX 2 minutes.

A few recommendations

We kindly ask you to submit music you specifically create for this episode. Anything that we deem to be out of context will not be considered.

The submission form also serves as a legally binding license assignment document. Therefore we kindly ask to only submit music you own in its entirety. However we only ask for a non-exclusive license, meaning you will still be able to use the music on other projects.

The file format must be MP3 and the file-size must be under 5MB. In case you come up with a larger file-size please re-compress it using a lower bitrate.

Deadline

Please submit your track by Friday July 26 at 11:59PM (BST).

Submit your music here

Please use the form below to submit your music:

If the form should not work with your device/browser please use this page instead.

Good luck

We will only play a few submissions during the show and we will assess tracks in the order they are submitted. Thus we advice submitting your track as soon as possible. Good luck!

The post FMF episode IV – submissions closed appeared first on film scoring tips.

Filmmakers Feedback is one of the new Film Scoring Tips Labs series. Make sure you check the other series out and help us shaping them.

Lance S. A. Nielsen

Our guest for episode III is writer and director Lance S. A. Nielsen (The Journey).

Episode III – script scene

Please read the following scene and the brief provided by Lance S. A. Nielsen:

JENNIFER pours herself a small glass of wine and holds it up to the light, savouring the moment of the view before she drinks it. She sits on their rock for a moment and admires the natural beauty of the view as the sun begins its descent into the horizon.

There is a bit of a breeze and she wraps her white shawl around her head to combat the breeze. The POV cuts to above her and the angle rotates around her standing on the clifftop, the view is incredible. JENNIFER takes another sip of her wine and stands up, placing the glass next to the bottle in the basket. She walks slowly towards the edge of the cliff top and looking down see’s the waves crashing in the water below. It is quite a drop. She closes her eyes and begins to edge slowly forward when a soft voice speaks from a few feet behind her.

ALEX
I don’t see a glass for me.

JENNIFER
My plan was to drink alone.

ALEX
It looks like you have other plans too.

JENNIFER
I’m going to have to ask you to leave Alex, I don’t want this to be your last memory of me.

JENNIFER does not turn around, she looks down again at the waves below and back again towards the sun.

ALEX
It’s a little late for that and if you take one step further it most certainly will be tragedy for the both of us. The best part of the sunset is still to come remember?

JENNIFER
Yes I forgot.

JENNIFER steps back from the edge of the cliff

ALEX
I suppose that’s something we will have to accept about each other at our age, that we will be a bit forgetful from time to time, that we will need to help each other from time to time. If you will accept my offer that is?

JENNIFER
Offer?

JENNIFER steps back from the edge of the cliff

ALEX
To come and stay with me. We missed out on a whole life together but we can have some time together now.

JENNIFER
A few more days then I’ll be back to rot in some bloody care home in god knows where.

ALEX
I would never let that happen. I want you to stay, here with me at the villa.

JENNIFER
What do I know about grapes?

ALEX
You seem to have the drinking part down pretty well.

JENNIFER turns and see’s ALEX standing there, a tear falling from his cheek which causes her to wipe her own from her cheeks in embarrassment.

JENNIFER
What happens to me if anything happens to you?

ALEX
Enzo will look after you, you’ll be like family.

JENNIFER
I’m not though am I?

ALEX
Not yet, but we can soon change all that.

ALEX produces a ring from his pocket.

ALEX
I knew who you were the moment you fell over in the square. Not very convincing by the way Jennifer. You were far better in the school production of Charlie and the Chocolate Factory. I went to all three nights of that, just so I could see you perform. You may have got older but that sparkle in your eyes, once seen, no one could ever forget it. I never forgot it Jennifer, never forgot you.

JENNIFER
I’m afraid that was the pinnacle of my acting career, Charlie and the Chocolate Factory.

ALEX
Perhaps I can ask you to play one more part for me. I don’t care we might have missed all the fun years, those years can be full of pain and heartbreak too. In the last years of her life, more than anything my wife and I would drink a glass of wine and watch the sunset, sit on our balcony and know we were happy. To be happy, isn’t that the most important thing?

JENNIFER
Oh I don’t know, some damn good sex could be a good part of the equation too.

ALEX
Would you settle for some very average attempts of sex which am sure will have a greater currency of comedy during our conversations with the sunsets and the wine?

JENNIFER
That sounds like something I could live with.

ALEX
Is it something you feel you could live for? I’ll promise you the best quality of life, better than the other choices on offer…

ALEX takes a step closer and stretches out his hand.

ALEX
I haven’t even shown you my favourite part of the island yet.

JENNIFER
You fibber, you said this was your favourite part.

ALEX
I can’t blow it all on the first date now can I? I have to have a few surprises, even for a man of my age.

JENNIFER takes ALEX hand and for a moment she falls but he catches her as if part of a dance, sweeping her up into his arms.

The emotional content of the scene represents a dichotomy of embracing what little time we have left in life with all around us that is beautiful. Or instead embracing death and leaving everything that’s in this life behind not knowing what lies beyond that door. And that’s the dilemma that the character of Jennifer is facing when she’s on the cliff. Her future is uncertain.

The music has both to symbolise the beauty that she sees in the stunning sunset and the depth of the dilemma that she’s facing.

A few recommendations

We kindly ask you to submit music you specifically create for this episode. Anything that we deem to be out of context will not be considered.

The submission form also serves as a legally binding license assignment document. Therefore we kindly ask to only submit music you own in its entirety. However we only ask for a non-exclusive license, meaning you will still be able to use the music on other projects.

The file format must be MP3 and the file-size must be under 5MB. In case you come up with a larger file-size please re-compress it using a lower bitrate.

Deadline

Please submit your track by Monday June 17 at 11:59PM (BST).

Submit your music here

Please use the form below to submit your music:

If the form should not work with your device/browser please use this page instead.

Good luck

We will only play a few submissions during the show and we will assess tracks in the order they are submitted. Thus we advice submitting your track as soon as possible. Good luck!

The post FMF episode III – submissions closed appeared first on film scoring tips.

Submissions for this episode are now closed. Please check this page to find out if submissions are open for coming episodes.

Filmmakers Feedback is one of the new Film Scoring Tips Labs series. Make sure you check them out and help us shaping them.

Fraser Brown

Our guest for episode II is film producer Fraser Brown (Orphans & Kingdoms, McLaren, Born Racer).

Episode II – script scene

Please read the following scene and the brief provided by Fraser Brown:

EXT. SHIPYARD – REYKJAVIK – DAWN

A commercial wharf in Reykjavik harbour. Spring. A large fishing vessel is on the dry dock being repaired. In the distance the ominous, snow covered cliffs of Videy island.

A WELDER on the ship casts a flickering light.

CUT TO:

EXT. FISHING VESSEL – REYKJAVIK – DAY

A massive winch is being craned through the air. Two WORKERS steer it with ropes, toward a large hole in the ship’s deck.
Kristinn, drinking coffee, examines a set of structural diagrams. He looks up as the winch eases down.

WORKER
How we doing Kristinn?

Kristinn’s phone rings.

The workers strain to guide the winch. Kristinn motions left with his hand, then answers the phone.

We can’t hear Kristinn’s conversation, but after a beat his face twitches, and his eyes close, and then the phone and the coffee tumble from his hands.

WORKER (CONT’D)
Kristinn?

Kristinn collapses to his knees. The winch slams into the hole, the welder stops and flicks his mask up.

Kristinn tips his head up to the pale sky; pain.

We pull back, Kristinn is small on the huge ship.

Title up: THE FOX HUNTER

I’m interested in the initial creative response from the composer based on how the scene, or moments within the scenes, makes them feel. I’m not looking for a polished score for the scene as that needs to come from a collaboration. Track length max 1m30s.

A few recommendations

We kindly ask you to submit music you specifically create for this episode. Anything that we deem to be out of context will not be considered.

The submission form also serves as a legally binding license assignment document. Therefore we kindly ask to only submit music you own in its entirety. However we only ask for a non-exclusive license, meaning you will still be able to use the music on other projects.

The file format must be MP3 and the file-size must be under 5MB. In case you come up with a larger file-size please re-compress it using a lower bitrate.

Deadline

Please submit your track by Wednesday May 23 at 11:59PM (BST).

Submit your music here

Please use the form below to submit your music:

If the form should not work with your device/browser please use this page instead.

Good luck

We expect to receive a large number of submissions, therefore we can’t guarantee we will assess all the tracks submitted over the span of the related episode. We will assess tracks in the order they are submitted. Thus we advice submitting your track as soon as possible. Good luck!

The post FMF episode II – submissions closed appeared first on film scoring tips.

As part of our effort to give our readers a leading role in shaping the content of Film Scoring Tips, we are starting a new exciting podcast titled Filmmakers Feedback. In every episode I will talk with a different filmmaker about how she/he approaches music submitted by a composer for her/his projects. One of the most prominent segments in the podcast will feature the filmmaker assessing music submitted by our readers and based on a short story she/he has written for the episode.

A. Bodin Saphir

Our first guest is filmmaker A. Bodin Saphir. Alexander is a successful film producer, writer and director (Who’s Gonna Love Me Now?, Far), and playwright (Rosenbaum’s Rescue).

Episode I – short story

If you would like to submit your music to this episode please read the following story and notes from the filmmaker:

A nondescript hotel room. A woman in her mid 30s opens the door to a confused man of a similar age. They know each other. Why are they meeting here, in a hotel room – the man asks. The woman pulls him into the room and sits him down. She offers him a drink from the minibar. She’s nervous. He notices. He tells her to spit it out. She does. She’s always fancied him and now that they’re both single she wanted him to know … you know, in case he had feelings for her too. Does he ever! They fall into each other. Ripping off their clothes. It’s the culmination of years of pent up sexual tension and it’s glorious!

The next morning – they’re lying in bed, intertwined with each other. He’s playing with her hair. He still can’t quite believe last night. It’s something he’s wanted for a very long time. She’s quiet, withdrawn. She’s got something to tell him and there’s no easy way to say it – so she just blurts it out: she’s dying. Terminal cancer. She has weeks, a few months at best. He’s devastated, but he puts on a brave face. They hug.

Please submit a 3 minute piece of music with minute 1 focusing on his arrival and her telling him that she fancies him. Minute 2 could be the sex and minute 3 could be the next morning.

A few recommendations

We kindly ask you to submit music you specifically create for this episode. Anything that we deem to be out of context will not be considered.

The submission form also serves as a legally binding license assignment document. Therefore we kindly ask to only submit music you own in its entirety. However we only ask for a non-exclusive license, meaning you will still be able to use the music on other projects.

The file format must be MP3 and the file-size must be under 5MB. In case you come up with a larger file-size please re-compress it using a lower bitrate.

Deadline

Please submit your track by Wednesday May 15 at 11:59PM (BST).

Submit your music here

Please use the form below to submit your music:

If the form should not work with your device/browser please use this page instead.

Good luck

We expect to receive a large number of submissions, therefore we can’t guarantee we will assess all the tracks submitted over the span of the related episode. We will assess tracks in the order they are submitted. Thus we advice submitting your track as soon as possible. Good luck!

We have also open submissions for episode II here.

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