![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
В новом (буквально сегодня выложенном) онлайн выпуске журнала Film Score Monthly в кои века наткнулся на интервью, которое было бы интересно прочитать, хотя конечно я и так в общем все знал, но всегда интересно имень так сказать свежие новости с этого поля битвы :-)
An Orchestrated Life: Tony Blondal
What goes into being one of Hollywood’s top orchestrators?
Interview by Mark Ford
With more than 75 credits in film and television to his credit, Tony Blondal’s 20-plus year career as one of today’s top orchestrators has given him expert insight and knowledge into what the job fully entails. In addition to film and TV orchestration, Tony has arranged for vocalists like Peabo Bryson and Natalie Cole, and received an Emmy certificate as a member of the team that was awarded Outstanding Music Direction for the TV special Movies Rock, for which he did an arrangement of “Singin’ in the Rain” for Usher.
Born in the Pacific Northwest, Tony grew up taking piano and guitar lessons from a young age. He received his degree from The University of British Columbia, followed by an additional year at Western Washington University in jazz performance and two years of study in arranging and film composition at the Grove School of Music. His career moved from playing in bands and doing studio session work into orchestrating and copying for television, which eventually led to orchestrating for feature films.
A meeting with film composer Rolfe Kent began a long lasting and successful collaboration, working together on dozens of films. Tony has also worked for a number of other composers and production companies, including Ramin Djawadi, Henry Jackman, Eliot Goldenthal, Yoav Goren (Immediate Music), Killer Tracks, Chris Young, Jeff Cardoni, Jack Wall, Andrew Gross, Craig Armstrong and Ed Shearmur among others. Tony recently sat down to talk about the ins and outs of the constantly changing world of orchestration.
Mark Ford: Might as well jump right in and ask the big question. What exactly does an orchestrator do? I’m sure you’ve been asked that question a lot.
Tony Blondal: My parents ask me about it all the time! (Laughs) It’s true there seems to be a lot of mystery about what we do. Of course the shortest answer is an orchestrator “orchestrates”! The more detailed one is that, in the case of film scoring, we take either a hand-written sketch (though not so often anymore), or, most commonly now, a sequence or demo as we call them (also known as a mock up), prepared in a program like Logic, Digital Performer or Pro Tools. This is the composition, by a composer who either does his/her own orchestral mock ups of it, or has a programmer do it. We then finesse it into an optimized score form for the purpose of replacing the demo with live orchestra.
MF: Could you give a general overview of the process involved?( Read more... )
An Orchestrated Life: Tony Blondal
What goes into being one of Hollywood’s top orchestrators?
Interview by Mark Ford
With more than 75 credits in film and television to his credit, Tony Blondal’s 20-plus year career as one of today’s top orchestrators has given him expert insight and knowledge into what the job fully entails. In addition to film and TV orchestration, Tony has arranged for vocalists like Peabo Bryson and Natalie Cole, and received an Emmy certificate as a member of the team that was awarded Outstanding Music Direction for the TV special Movies Rock, for which he did an arrangement of “Singin’ in the Rain” for Usher.
Born in the Pacific Northwest, Tony grew up taking piano and guitar lessons from a young age. He received his degree from The University of British Columbia, followed by an additional year at Western Washington University in jazz performance and two years of study in arranging and film composition at the Grove School of Music. His career moved from playing in bands and doing studio session work into orchestrating and copying for television, which eventually led to orchestrating for feature films.
A meeting with film composer Rolfe Kent began a long lasting and successful collaboration, working together on dozens of films. Tony has also worked for a number of other composers and production companies, including Ramin Djawadi, Henry Jackman, Eliot Goldenthal, Yoav Goren (Immediate Music), Killer Tracks, Chris Young, Jeff Cardoni, Jack Wall, Andrew Gross, Craig Armstrong and Ed Shearmur among others. Tony recently sat down to talk about the ins and outs of the constantly changing world of orchestration.
Mark Ford: Might as well jump right in and ask the big question. What exactly does an orchestrator do? I’m sure you’ve been asked that question a lot.
Tony Blondal: My parents ask me about it all the time! (Laughs) It’s true there seems to be a lot of mystery about what we do. Of course the shortest answer is an orchestrator “orchestrates”! The more detailed one is that, in the case of film scoring, we take either a hand-written sketch (though not so often anymore), or, most commonly now, a sequence or demo as we call them (also known as a mock up), prepared in a program like Logic, Digital Performer or Pro Tools. This is the composition, by a composer who either does his/her own orchestral mock ups of it, or has a programmer do it. We then finesse it into an optimized score form for the purpose of replacing the demo with live orchestra.
MF: Could you give a general overview of the process involved?( Read more... )
