Emotional Music Script


I’ve composed the music
to several modern ballets. When I started I had made different T/-productions
and “Medea”, – – when “Europa” suddenly
came into the picture. Actually, my approach to film music
derived from modern ballet. Not from classical music, but
rather from images and movements. In ballets
people don’t say anything. There’s music,
and they dance around, – – but you’re free
to just enjoy the music. In film music, doors slam,
trains arrive, and people get shot. They talk and talk,
and then the music fades away. So it’s something
completely different. German military power
from rising up. They’re destroying everything that
could be used for military ends. I fail to see how the few cranes
we have left might pose a threat. I made “Medea” with Lars. At that time,
times were hard for composers. So I wondered if I should start
working with computers instead. I was planning to get an
education in computer technology. Then Lars got involved with “Europa”
and asked me if I would help him. In many ways,
it was every composer’s dream, – – because it was
a big musical film. As a composer, you felt quite secure
when working with Lars. I never doubted that the music
would be perfect for the film. I couldn’t make anything
which wouldn’t be great in the film – – because then he would never
allow it in the film. When I made this I thought,
“I might as well do it.” I had nothing to lose.
I was on the dole. If it didn’t work out I could just
contact the dole office again. So I decided to give it a go. But of course
I was scared to death. I won’t deny that, but that also
encourages diligence. We made “an emotional script”
for “Europa”. We wrote down every single cue
and every piece of music. And Lars wrote down
his expectations to the music. For instance, the scene Often when you shoot a scene,
you don’t get exactly what you want. In a situation like that,
the music might help you. It might give the scene
the desired balance. Depending on how the actor acts,
you adjust the music accordingly. In “Europa”
the actors didn’t act that much. That is to say,
they were underplaying their parts. Therefore, I could make the music
very emotional, and that was fun. It’s probably the most
romantic music I’ve ever made. The reason for this was Barbara,
the main character, – – who’s acting was very subtle. She spoke in a low voice and she
hardly made use of any gestures. Even when acting love struck,
she toned down her acting. And that was when I could let
the orchestra go all out. Suddenly you were sure
you saw something in her eye, – – and then the scene
became very touching. All those pent-up feelings,
or supposedly pent-up feelings. Therefore, the music
is always made afterwards. It never looks the way
you thought it would look. Every time I’ve composed the music
in advance, it’s been terrible. Either the music didn’t fit
the tempo or the acting. A composer must simply work with
the product that is already there. You can’t simply read the script
and then compose the music to it. It will never be a success. You have to focus on
your own feelings. If I’m touched or get scared when
listening to my own compositions, – – then I know that I’ve got
the right idea for the music. You may compose film music
in an infinite number of ways. As a composer, when seeing
the film, you invent an entire world. You don’t have that many fixed
points. You have to invent it all. In other words I realized
that if I thought it was beautiful – – there would be others who
would feel the same way too. We made
the “Hypnotic Theme” first. I made a theme,
which went And then Lars said,
“That’s great. Try to slow it down.” And then that became the basic
elements of the “Hypnotic Theme”. This theme,
which was slowed down. It’s typical for film music that the
tempo needs to be slowed down. There’s just too much information,
but if you lower the tempo, – – you’ll make room
for the picture too. I wrote the theme, – – and I used its basic elements
in many of the other themes. Every time you saw the train then that was the
basic element of the music. One of the scenes in “Europa”
caused me great difficulties. The crosscutting between
the suicide in the bath tub, – – where he cuts himself
with the razor, – – and the love scene in the loft. That scene is quite violent, – – and for some reason
I just couldn’t get it quite right. At the same time,
it was absolutely disgusting, – – and every morning
when I woke up I thought, – – “Oh, no, I have to watch
that scene once more today.” For some reason I got stuck there. I watched that scene
eight mornings in a row, – – and I just couldn’t get it right. And it’s a long scene too. But I’ll never forget
all my troubles with that scene. The colours and the music
had the same references – – to the atmosphere in the picture. The change in atmosphere,
from when he kills himself- – to the love scene. The change between
the two different types of emotions. Maybe that’s why
I found it so difficult to make, – – even though pain and love are
such familiar feelings to us all. Father Father “Europa” is a classic film,
in the sense There is quite
a lot of music in “Europa”, – – and when there’s a certain
amount of music in a film, – – the audience tend to forget about
it, and then you can manipulate them. And it’s a very pure genre,
a very pure sound. If you try to compose film music
according to a formula, – – you will never succeed. Then you no longer assume
a humble attitude towards the work. When composing film music you need
to pay attention to the entire work. As opposed to when you write
a piece of music on its own. Here you need to pay attention to
the picture as well as to the story. And it’s important
that you see it as a whole. You’ve already got an instrument,
I.e. an actor or an atmosphere. In a way, you change You change your techniques. If you’re touched by a scene
through your own work, – – then you’re on the right track. With this ring I thee wed. In the name of the Holy Trinity.

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