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Post-Make-Up Gushings - Vigil Assistance
May. 19th, 2011 11:45 amI'm having a relatively good time, reassembling the opening of Vigil.
For one thing, it's wicked good to just have the thing feeling like it's WORKING.
The first time, there were things I really liked about each character, and each conversation, and a lot of the scenes...but no real chemistry.
And now it seems like that's fixed. I'll finish the redraft of a certain scene and chuckle evilly.
Because everything makes that zinging sound as it goes by.
***
I wanted How To Train Your Dragon Sunday, and it was awesome and adorable, and a piece of art in every way (except maybe plot, which was a solid, working form, no complaints)
but
The SCORE. It is a seriously masterful fusion of Celtic and modern world-style melodies in a symphonic soundtrack. It ranks as one of the few scores that while hearing it made me not only more excited about the story, but really made me want to hear the music itself.
This may seem to be a problem, as far as just underscoring the story without being obtrusive, but I'm a musician of a kind, the same as I am a storyteller, so I notice what's working. Lord of the Rings was one score where sometimes the music was so amazing I thought "I have to know who is doing this". Pride and Prejudice was another.
I'm particularly drawn to notice when they use themes from the actual story (P&P: Regency/Baroque phrasing) to be part of the world-building in the music.
For one thing, it's wicked good to just have the thing feeling like it's WORKING.
The first time, there were things I really liked about each character, and each conversation, and a lot of the scenes...but no real chemistry.
And now it seems like that's fixed. I'll finish the redraft of a certain scene and chuckle evilly.
Because everything makes that zinging sound as it goes by.
***
I wanted How To Train Your Dragon Sunday, and it was awesome and adorable, and a piece of art in every way (except maybe plot, which was a solid, working form, no complaints)
but
The SCORE. It is a seriously masterful fusion of Celtic and modern world-style melodies in a symphonic soundtrack. It ranks as one of the few scores that while hearing it made me not only more excited about the story, but really made me want to hear the music itself.
This may seem to be a problem, as far as just underscoring the story without being obtrusive, but I'm a musician of a kind, the same as I am a storyteller, so I notice what's working. Lord of the Rings was one score where sometimes the music was so amazing I thought "I have to know who is doing this". Pride and Prejudice was another.
I'm particularly drawn to notice when they use themes from the actual story (P&P: Regency/Baroque phrasing) to be part of the world-building in the music.
