You may be one of them who can’t help but wonder, “what is the difference between producer and director?”.
DIRECTOR VS. PODUCER MOVIE
People, however, often find it hard to differentiate between these two movie personas. We see actors on our screens, but we also have to consider the important people behind the camera: the director and the producer. Today, we have actors jumping from building to building so realistically, dragons spitting fire over thousands of people, and characters disappearing into thin air. What we see in cinemas today was once only figments of filmmakers’ imaginations. From hand-drawn characters to pictures taken by huge cameras, from black-and-white pictures to today’s movies, the film industry has taken a big step forward. Someone else might react totally differently and/or the same person might enjoy the music (or hate it) later in his life.Movies have really set the bar high in the entertainment industry. It says that this very person (and no one else) in this moment reacts in a certain way to a certain piece of music. This is not the case : If a person likes a piece of music it says something about this person and not about the music. Or in other words, that a positive opinion on a musical piece says something about this piece of music, about its "true" value. It seems to me that there are many on this forum who do believe that if music is liked by someone, it means the music is good. Personally I usually go for the first option.
He is not "more right" than you or the other way round, but he is in the position to chose. The thing here is that the musical artistic direction is chosen by the director.
DIRECTOR VS. PODUCER SKIN
There are many ways to skin a cat, so there is no right way or no wrong way to put music under picture. or you walk away, if your musical direction is not accepted.Īn alternative is to offer two version, but then be open if they do not like it. either you just shut up and do what you're told, to the best of your ability Well, in my humble experience it works like this : By declaring that they are right - aesthetically and technically - they stop any possibility of new exploration and collaborative invention.Īnd the images you work with inevitably are your other voice in the piece, and your director your collaborative band member. I can't stand working with composers that are convinced that they have written a 'good' piece of music (they usually tell you that even before they play it for you, and you feel like a prat when you don't like it). But it's just writing music, and isn't that what you're supposed to love doing? Process is everything. There are far fewer directors than composers out there.Īnd secondly, what's the big deal? I'd love to write a great dub step piece. Ultimately, you need to ask yourself if the producer will care more about a long-lasting relationship with his director or you. But make sure you're telling the same story as the director. To shoot for something so irresistible that it convinces by it's sheer emotional rightness beyond the confines of style and taste. All directors are thankful if you improve and revolutionize their vision and concept with something they just couldn't imagine by themselves. Baz Lurman's 'Romeo and Juliet' are the same story told very differently by Zefferelli. Your director has to fall in love with everything new the music invokes and reveals in the images and the way the music affects the story as a whole. Music has to compellingly resonate with the images emotionally and intellectually - there has to be chemistry. You can not talk someone into liking a piece of music, it's like telling someone why it would be a good idea to fall in love with a certain person. I keep relating the same thing: Music is not defensible in an intellectual argument.
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