Working with the Film Composer
Taught by Mark Orton
Saturday, October 22, 10am-4pm
The Northwest Film Center is excited to be offering a Saturday workshop with local composer Mark Orton, who composed music for the films Nebraska and Boxtrolls, in addition to a new soundtrack for Buster Keaton’s The General and work on This American Life.
How to find, hire and work with a film composer, from the demo process to finished picture. The instructor’s musical palette and style will guide the discussion, along with real-life case studies from a variety of feature, documentary and fine art films. Continue reading... “Saturday Workshop With Mark Orton”
“In honor of the 90th Anniversary of the Hollywood Theatre and the 90th Anniversary of Buster Keaton’s classic film, Buster Keaton’s, “The General”, which was shot in Cottage Grove, OR, the Hollywood Theatre and Oregon Film present a state-wide tour of the film with a new live score composed by renowned Portland film composer Mark Orton. (OPB did a short piece on this project which explores Orton’s thoughts and inspiration behind this project.)
LOWER BOOM, a Portland, Oregon based studio that innovates in the production, distribution and marketing of micro-budget films, announces the release of the soundtrack for it’s newest film, JOAN. The score, composed and produced by Mark Orton, is available as a beautifully packaged CD and also available worldwide at all digital stores and streaming services including iTunes.Continue reading... “LOWER BOOM Releases Soundtrack For Newest Film: JOAN”
Taught by Mark Orton, founding member of the Tin Hat acoustic chamber ensemble, who has written music for films such as EVERYTHING IS ILLUMINATED, THE GOOD GIRL, and BUCK. Orton also composes for dance, circus, and radio drama, giving him a well-rounded wisdom that he is eager to share.
Topics: overview of the instructor’s film palette and style; types of film scores (original, licensed, public domain, live captured, sound design); the film music department staff (who does what); film music budgeting; what happens before a composer is hired (the temp score, the cue sheet, demos, typical contracts, and budgets); how to work with a composer (the spotting session, what a composer needs technically, the adjusted cue sheet, giving notes, film music vocabulary, the illusive locked picture); licensing music (different types of licenses, understanding publishing, obtaining a license, different types of rights scenarios, how to avoid “the man,” re-purposing non-film music, filing a finalized cue sheet); clips from a variety of films will be used throughout to illustrate the material; interaction with the instructor is highly encouraged.