FILM SCORING MECCA | Orchestra Leader Thomas Bowes
Welcome to FILM SCORING MECCA – a series tailored and curated by composer Adriano Aponte for FST. Presenting amazing and insightful articles about professionals working at top level in the film music industry. Today we have legendary Orchestra Leader Thomas Bowes.
CHOOSE YOUR PATH
I started working in the London studios in the mid-90’s. It was a convenient way of making a living whilst I was working on my playing and other projects. I was sometimes asked to lead (concertmaster) projects. Gradually more and more composers were asking me to lead for them and to play solo violin.
MY SPECIFIC ROLE
My specific role as orchestra leader is to make the project work for the composer and to liaise with the orchestra. Make sure everyone understands each other and everyone can give off their best work.
KEY SKILLS
There might be a few skills you need to have under your hood but certainly you need to be able to: play the instrument well, be sympathetic, diplomatic and helpful.
Be sympathetic, diplomatic and helpful.
CHANGE OVER THE LAST 20 YEARS
In reality only the technology has changed. Human beings remain the same, so in that sense things haven’t changed that much in 20 years time.
SESSION MUSICIAN/CONCERT PERFORMER
Differences between a job of a session musician and a concert performer stress. A concert performer focuses everything on the performance. In the session world one must be ready at any time for something important to occur. Sometimes everything is fine for 3 day sand then a huge solo is required in the last 10 minutes of the day. Be ready!
In the recording session world one must be ready at any time for something important to occur.
NOTATING OR NOT NOTATING THE BOWING ON A PART
I know this might be an old dilemma for composers and I think that if he/she has strong ideas let’s see them. If it can be negotiated during the recording then we can work it out as we go along.
WHAT MUSIC TO ENJOY PLAYING THE MOST
I’m not too fussy, though to be honest the kind of music where one needs to sound rather like a sample is not so interesting, so use the advantage of a real orchestra.
Use the advantage of a real orchestra.
HELP FOR THE COMPOSER
If I see that the composer might be helped with a certain articulation or phrasing then I will suggest something. Timing one’s intervention is crucial. But beware thinking that one’s idea is essential; it isn’t!
ADVICE FOR COMPOSER
It is crucial to check everything three times before the recording session – but mistakes do happen. Correct them at the session without stress and annoyance and communicate clearly to the musicians. Have a sense of humour!
Correct your mistakes at the session without stress and annoyance. Have a sense of humour!
FUTURE GENERATION
To future generations’ musicians who want to embrace a career as orchestra leader I would advice them to learn how to play well first and to understand music and composers. My career as orchestra leader in movies ‘ soundtracks was not something I went looking for.
Learn how to play well first and to understand music and composers.
KEY FOR SUCCESS
Have fun. Be diplomatic. Know your stuff. A bit of humility is good and determination is also good.
Know your stuff. A bit of humility is good and determination is also good.
Coming up next in the series: FILM SCORING MECCA | Abbey Road Studios mastering engineer Simon Gibson
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