The Making of a Great Score

Over time, the most memorable, cinematic experiences have included exceptional scores or soundtracks. At times, composers often gain recognition and attention separate from films. So, what is the process of creating a film score? What are the collaborations and considerations that must be taken? And perhaps most importantly, has any of that changed in the streaming era?

Both cinephiles and occasional moviegoers will both remember that cinema was once silent. With the absence of dialogue, it was up to the accompaniment to convey the characters’ emotions or the storyline’s pacing. Ironically, during the silent era, the importance of sound was more strongly felt, and soundtracks continued to evolve.

Entering the Golden Age of Hollywood, both directors and composers became ambitious. The advent of sound made for more opportunities and creativity, writing original compositions with themes. The Jazz Singer (Alan Crosland, 1927) is thought to be one of the first talking films, featuring not only dialogue but musical numbers.

Now that brings us to the present. Soundtracks have earned prominence and significance, connecting movie lovers to great musicians who have taken part in soundtracks. Joe Hisashi, for example, is the primary composer for many Studio Ghibli films like Spirited Away (Hayao Miyazaki, 2001), which led to the introduction of many fans, to the rest of his work. In other movies like Barbie (Greta Gerwig, 2023), the soundtrack featured Billie Eilish and Dua Lipa, big names anyone might recognize.

Simple at a glance, the process of creating a score has always been complex. To start though, it can be divided into three phases: pre-production, production and post-production. The director, composer and their team work collaboratively throughout to develop music that will work seamlessly with the movie.

Spotting comes first. This part of the process often occurs between the composer and director as they watch the film together and discuss important elements. For instance, this might entail the characters’ emotional states or the work’s general mood. There are also more technical aspects, such as deciding time codes for specific cues.

Then comes research. The composer begins to study music, getting a better idea of the mental space, or “reality”, of the film. By looking into articles on film subjects or familiarizing oneself with a genre, the soundtrack will better encapsulate the world and its characters.

Once the composer has a better grasp of the type of sound and how it will be conveyed, it’s on to sourcing raw material. This stage asks for lots of experimentation, as things get closer to a solidified, sonic palette. With more unique instruments, it is often essential to make recordings of their own. From instrumentation to sound design, every decision is a step closer to a more complete idea.

Time to get things started. With the relevant material sourced, composers move on to sketches, mock-ups, or mini-suites. There are many different approaches, to the point where there’s no one standard. Another well-known method is giving characters distinct sound elements, which serve as auditory cues for the audience as they associate themes with specific names. For instance, audiences can foreshadow Darth Vader’s entrance when “The Imperial March” comes on. Ultimately, the score will require multiple revisions and rehearsals, much like any piece of work.

And finally, the score is ready to be recorded and mixed. Recording at “scoring stages”, these recording studios were designed specifically for film soundtracks. From several days to a week, depending on the score length, orchestras will gather to record. This will then be remixed appropriately for the final film.

Bong Joon-Ho, Wes Anderson, Sofia Coppola, Chloé Zhao— there are many names that might come to mind when thinking of influential (and favorite) directors. While there are great directors, composers are gaining well-deserved appreciation. Hans Zimmer is one, perhaps one of the most popular too. The German film score composer has worked on animation films like The Lion King (Rob Minkoff and Roger Allers, 1994), as well as other familiar titles like Interstellar (Christopher Nolan, 2014) and Dune (Denis Villeneuve, 2021). So far, he has earned two Oscars and four Grammys since his career began in 1977. For Zimmer, he’s found that choosing a key is a good place to start— consider it the first, essential step. Then, it’s important to have conversations with directors, helping inform how the music will shape the story, a phase that requires imagination and experimentation. The composer suggests studying light and color and familiarizing oneself with the way editing works in films to create an atmosphere that pairs with what audiences see.

John Williams is another veteran in composing film scores, having written music for Star Wars, Jurassic Park, and Jaws. With so many awards, the composer has created an outstanding career using his background in classical music. Taking away from his time on soundstages, Williams worked alongside the best, most talented instrumentalists. It was a place that was constantly filled with good advice, helping him improve his writing.

Though the composers differ in their approaches, styles and backgrounds, there are some commonalities. Spoiler alert: it has to do with the audience. Considering the perspective of an audience member is always key and helps to ground the rest of the film. The music we hear is equally important in creating a story because it must support what is shown, or rather, experienced. It is this purpose that drives creative conversations between directors and composers, helping imagine where music can perform its role, but also when it can dial back and let the film shine as a moving picture.