![]() Intuition, imagination and synchronicity determine the outcome of the process.This is FRESH AIR. It’s the trust, not a linear time line or analytical planning that is involved in preparing the film score and putting things together. “They were preparing their parts simultaneously, relying on the trust that it would work out in the performance.” Reijseger compares their collaboration to that of Robert Rauschenberg, Merce Cunningham and John Cage. This was the case during the filming of The White Diamond, when the cameraman held the camera whilst listening to the music on his headphones. Sometimes, he sends audio files before Herzog starts filming, to give him an impression of what he is working on, which sometimes influences the filming in advance. If needed, Reijseger plans an extra individual recording session, in which he records solo cello to the images of the film, providing connective tissue between scenes, or underscoring spoken word. Usually, Reijseger produces more music than necessary, giving Herzog options of what to use. Herzog is invited to the recording session and receives the music after it has been mixed and mastered. But I gather musicians around me that have very special capabilities, and a lot comes from them.” Reijseger: “I get the credit as the main composer and I do imagine and conceive the music. ![]() It’s important that all participating musicians become involved in the process. This gives Reijseger room to morph the material in the session. ![]() He invites musicians because of their personal input and their (improvisational) skills, musicians who are flexible and play by ear. Reijseger: “A joyful aspect of making music for film lies in the opportunity to form larger ensembles.” Reijseger, for his part, chooses instrumentations and starts to compose for imaginary scenes. He tells why he is motivated to make this particular film – what it is about the characters or story that intrigues him. He describes the landscape and the scenes. ![]() Herzog shows footage or describes the film he is shooting at a certain place on Earth. Reijseger: “The privilege of working with Werner Herzog is that the collaboration does not start in the post-production phase. Herzog and Reijseger’s collaboration does not follow standard guidelines. and Nomad, In The Footsteps Of Bruce Chatwin. Then, there is previously unreleased music from the recent films Family Romance Ltd. The album contains tracks with a larger ensemble from the films Salt & Fire and My Son My Son What Have Ye Done (co-produced by David Lynch). For music lovers preferring cd to digital audio, a cd has been released/distributed through Caldera Records.Ĭhronicle consists of Reijseger’s choice of pieces, including Shadow from Cave Of Forgotten Dreams, A Una Rosa from The White Diamond, and Voice from another World from Rescue Dawn. Although eleven of them can be perceived as standalones, the album is intended as one integral listening experience from beginning to end.Ĭhronicle is available in streams and downloads on all platforms. ![]() Chronicle Ernst Reijseger & Werner Herzog film scoresĬhronicle presents an overview of the ten films that Ernst Reijseger scored for film director Werner Herzog over the last fifteen years.Ĭhronicle contains 71 minutes of music in thirteen tracks. ![]()
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