|
|
||
|---|---|---|
Birthday:
Birthplace:
Occupation(s):
Quotes:
Favorite Food:
Favorite Book:
Most influential
What is most important:
Northern Sound
City of Angel
BBCi |
Rob is back with answers to more of your questions in the fan Q&A 37 Questions with Robert J. Kral - Part Two! With typical wit and charm, Rob answers your questions about musical themes on Angel, provides an entertaining account of his almost-budding youthful career as a filmmaker, and reflects thoughtfully on composing music for television.
The best scores,
however, are written by hearing what’s coming to you in your head.
Composers experience music that is "given" to them, if you will. This is
always the best stuff; however, it’s not always what the director wants.
For this reason, the temp track must be taken into consideration as it
is very carefully worked on -- even reworked up to three times -- until
approved. So, often the temp now gives the direction on Angel. 19. Nicholas: You have written such wonderful music for Angel. Will there be a soundtrack of either your score or songs? Wiseblood: I love the music you create for Angel; for me, it's an integral part of the show's power and appeal. What can we as fans do to help you get a soundtrack of AtS music made? In Season Two there was a lot of interest from fans and three -- three! -- record labels to do a soundtrack album of the score for Angel. Unfortunately, the big dogs at FOX didn’t want that to happen. There were some at FOX who really, really wanted it, but they were unable to convince the powers that be. FOX owns the music, so nothing can be released without them, even if it's not costing them a cent to produce it. I think it’s sad that you can have up to three [record] labels ready to go with it, but the big studio won’t allow it. Their reasons sometimes [were] weird too: For example, they thought a soundtrack album for a TV show signified that the TV show was canceled. This just makes no sense.
Note: E-mail Jacquie Perryman at askfox@foxinc.com or write to:
Ms. Jacquie Perryman 20. Flamedrake: What brought on the idea to segue the episode music into the opening credits in a few of last season's Angel episodes? And are there any plans to do so more in the upcoming year?
Yes, there is much more
of this coming up!! This type of thing is lots of fun. Chris Beck was
the first to mention the idea to me at the beginning of Season One. I've
kept it in mind ever since and sometimes it's just the greatest thing to
do. I am fortunate that we "own" the "black" that appears between the
teaser and the opening credits (main title). Often, though, it does work
better to not bridge that gap. But it sure is fun when I can. 21. Dianna B: I love your scores because they bring a lot to an episode. I especially like the themes you've written for individual characters like Darla and Fred that really fit them, so my question is what's the first thing you do when coming up with a theme for a character?
Fred's theme was also
lots of fun but it appeared only in the Pylea episodes, and maybe once
thereafter. Tim Minear loved it, but David Greenwalt wasn’t so keen on
it once we were out of Pylea. 22. Guenevere: Since Angel is often so melodramatic (in a good way) does that make it easier or harder to write music for? In other words, do you have to make sure you don't overdo a scene so that the balance is right? The bigger scenes that are melodramatic [are] very easy to write for -- I can pull out all the stops. In fact, I was just thinking the other day how fortunate I am to be working on this show where I can write the type of music that I have always wanted to...the big, epic sweeping stuff, the exciting action orchestral stuff....the, well, Angel, stuff! I am very lucky to have the type of show where I can do that. A sitcom would be somewhat more limiting!
Tim Minear asked for "BIG WAGNERIAN HORNS" in "Darla". He got them. He loved them.
Next >>
January 31, 2004. © Copyright 2004 MiraclesTV.com. All Rights Reserved. |
|
I really try to turn to
the episode itself, to hear what's going on in the scene and what is
coming out of it. When in a rush, I turn to the temp track! This is a
temporary music track put together by the editors, made up of cuts of
the last 4 years of Angel music.
Write to FOX TV if you
feel strongly about wanting an album. Jacquie Perryman very much wanted
to get an album going; perhaps she could forward such mail to the powers
that be.
Glad to hear you like
the themes! Darla's theme is one of my big favorites and it appears in
many different ways. Her theme first appeared during a fight scene in a
bar. Angel was drunk and fighting and she was just sitting back watching
and admiring. Rather than play fight music, I have the first appearance
of her theme -- which is laid back and seductive -- on viola. It
contrasts the fight, but captures her mood, her mind. I guess the
inspiration for the themes comes form the characters. Darla's my
favorite character. She actually has three themes, or one theme and two
other "ideas" that play throughout different situations with her, e.g.,
the "Dream" motif when she's seducing Angel through his dreams.
It can be easily
overdone though, as your question asks. Jeff Bell has been a little
pickier about the fight scenes for example. He keeps it to the degree
that he feels is warranted for the particular fight and situation. With
David, I was able to go more hell for leather every time. But David was
certainly in control of the melodrama when it came to underscore.
Sometimes I'd write something a little too sweet or sugary, and he'd
make sure the level of "subtleness" was correct.