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To Score or Underscore

Video Details

How do filmmakers and composers use music to intensify the drama of a film? In this talk, Annabelle Pangborn, Head of Editing, Sound and Music at the NFTS, explores the narrative possibilities of the soundtrack, and leads a panel discussion focusing on some of the different approaches to composing film music and the crossover and potential collaboration with sound design.

19 Sep 2012

Duration: 1hour 22mins

Music has always been used to convey emotion, however, it can also be ambiguous, stirring feelings we can't quite place. For this reason, music is a poweful tool for filmmakers.

But how exactly do we define what music is? Where does sound design end, and music begin? And does music need to be written specifically for a picture? In an industry where the temp score is king, is it possible for the soundtrack to bring something fresh to the film?

In this talk, Annabelle Pangborn, Head of Editing, Sound and Music at the NFTS, explores the narrative possibilities of the Soundtrack, and leads a panel discussion focusing on some of the different approaches to composing film music and the crossover and potential collaboration with sound design.

The Panel:
Annabelle Pangborn is Head of Editing, Sound and Music at the NFTS, and has worked extensively as a composer, sound designer and supervising effects editor.
Peter Howell is a musician and composer. He is best known for his work on Doctor Who as a member of the BBC Radiophonic Workshop.
Martin Kiszko is a composer, musicologist and librettist who is best known for his film and television scores.
Adrian Utley is musician and composer who is best known as a member of the band Portishead.