Welcome to March!

2013 Best Motion Picture Score!

Hi everyone! It's March already! Jeez, how did that happen? This year is already flying by. Today I have a list of scores to look out for this month, but before that, I need to address a couple things! First, the Oscars. Sigh. I really wanted Alexandre Desplat to win Best Score for Argo, but alas, that honor went to Mychael Danna for Life of Pi. Even though it was probably my least favorite out of the 5 nominated, it was still a beautiful score, so congrats, Mr. Danna! I'm glad your work was recognized :) Second, if you've been following along with me, you may be asking where the reviews for Escape From Planet Earth and Side Effects are? Well, the Side Effects score doesn't come out until March 5, even though the movie's already out! So, I'll be reviewing that one this month instead of February. As for Escape from Planet Earth....

Escape From Planet Earth, by Aaron Zigman-6.5/10
Did it fit the movie? Yep, definitely. Space adventure + kids movie = lots of high brass, tons of percussion, and a strong epic melody line that keeps coming up over and over again. In certain areas, it sounds VERY similar to the score for the 2009 Star Trek movie, although there were some strange things I heard that I didn't expect, like harmonicas and heavy metal guitar.
Did it make me feel something? At some parts, yes, some parts no. I had a hard time relating to the main melody because it sounded like every other space adventure/kids movie theme I've ever heard. There were moments, however. Zigman's use of piano and strings is one of the things I really like about him. He'll have this grand, loud melody playing with a bazillion things going on, and then suddenly,  there'll be nothing left but a delicate piano line and strings. This happened all the time on his score for Mr. Magorium's Wonder Emporium (where he collaborated with Alexandre Desplat), another children's film. I hear that same style again here, and every time it happens, my heart melts :) See tracks like "Let's Go Home" or "Scorch Goes to the Dark Planet." Also, the "Family Theme" is absolutely beautiful.
Was it original? Hm. Yes and no. The harmonica use, the heavy metal guitar, and the piano definitely made this score Zigman's own, but I couldn't shake the feeling that this score sounded like Star Trek.
Did I like it? Again, yes and no. No because of the weird Star Trek deja vu. Yes, because I love piano and strings and surprise instruments and strong melodies, and this score contains all of those things. Purchasing suggestion? Listen on Spotify or Youtube before buying any tracks. The 1:30 preview iTunes or Amazon gives you is definitely not enough to show you everything that's going on in the track, because it could change super quickly! So listen, then if you love, then buy! Support these artists!

Now, scores for March! Because Oscar season is over, we have quite a few!

 
-Jack the Giant Slayer, by John Ottman
-Stoker, by Clint Mansell
-The Croods, by Alan Silvestri
Olympus has Fallen, 
by Trevor Morris
The Host, by Antonio Pinto
Oz the Great and Powerful, by Danny Elfman 
(I totally guessed Elfman was going to score this movie btw-definitely fits with his style)

There would be even more on this list if I included movies that come out in March, but have score releases in April!  I guess I've got a lot of listening to do this month!

That's all I have for you this week-check back next week for Composer of the Month. I have NO idea who I'll pick yet, so I should probably get on that :) Comment below with your thoughts on the Oscars and if you thought the right composer won or not!

Beautiful Creatures and A Good Day to Die Hard

Hi everyone! Here's the first round of score reviews for February!

Beautiful Creatures by thenewno2-7/10
Did it fit the movie? Yes. The score was an intriguing mix of a romantic era orchestra with modern pop music beats and guitar or haunting vocal tracks interspersed through out. At times, it felt like the soundtrack to a high school romance, yet at other times, it was more like a dark fantasy adventure. I think that's exactly what the movie is, a blending of those two concepts.
Did it make me feel something? Yes. There were definitely moments that made me stop, sit up, and listen a little closer. Like on Breaking the Ice, when there's suddenly a banjo playing sadly, or in Dark Magic, where the cellos suddenly went crazy and got my heart racing.
Was it original? Yes, I believe it was. I loved what the composers did with blending an older sounding orchestra and modern music styles.
Did I like it? Not as much as I though I was going to, but yes, I did, a little. I really like the romantic orchestral feel to some of the tracks.. It was like the music I played in my high school symphony orchestra, the Beethoven and the Saint Saens. Music meant to accompany an opera, where every emotion is heightened to the extreme. I didn't like it as much as I wanted to because of the melody problem. I really like strong, recurring melodies, and the melodies in this score didn't feel used enough or strong enough for me. My favorite tracks were The Caster Theme, Lena's Magic/The Love Theme, and Lena's Love Rage/Macon's Adagio. Purchasing suggestion? Buy the tracks you like! In any case, I think the style mixing is great and worth listening to if you have time-Spotify is the greatest!

A Good Day to Die Hard, by Marco Beltrami-4/10
Did it fit the movie? Yes, it did. Another typical action movie score-heart pumping beats, loud and boisterous full orchestra. The perfect music to hear while John McClane is firing a machine gun and killing some Russians.
Did it make me feel something? Hahaha...nope. If you'll recall, one of my tests for this is listening to the score while focusing on something else. I can tell that the score stirs my emotions if the music pulls me out of my work. With this score, I listened to the whole thing and not once did I look up from my work.
Was it original? No, and here's where I take the most issue and take off the most points-it could have been! The first track was actually pretty original and cool. It riffed on Ode to Joy, which I thought was awesome! It was suspenseful and thrilling. It would have been so cool if Beltrami had taken that Ode to Joy melody, put some kind of twist on it, and then brought it back up through out the entire score. But he didn't.
Did I like it? Not really. I didn't expect to, because as I'll say again and again on this blog, action movie scores aren't my favorite. I usually listen to scores like this one when I need to get in a fast paced groove-during homework time, running on the treadmill etc. Purchasing suggestion? Unless you need it for good background music to your gun blazing adventures, don't buy it.

That's all I have for you today! Your score homework for this week is to read my post from earlier this week on our February composer of the Month and get ready for the Oscars by listening to all the nominated scores! :)

Happy Valentine's Day To Our February Composer of the Month!

Hi! I decided to post on Valentine's Day this week. Why? Because our February composer of the month is my favorite composer of all time and I'm in love with his music :) Everyone, let me introduce you to Alexandre Desplat!

Alexandre (we're on a first name basis in my imagination) was born on August 23, 1961 in the beautiful Paris, France. He began his musical journey by playing the piano at age 5. As he grew older, he was classically trained as a flautist, and then expanded his range of talents to include knowledge of Jazz, Brazilian, and African music. These diverse styles definitely show through in his scores, especially in the rhythms he uses. He had a passion for both movies and music writing, and combined those passions by writing music for film.  In his adolescence, he studied the work of the great film composers who came before him, including John Williams.

Alexandre began writing for movies in the 1990s, mostly for European films. He burst on the Hollywood scene when his score for Girl with a Pearl Earring was nominated for a Golden Globe, and since then, many his scores have been received with acclaim and nominations galore-five Academy Award nominations, six BAFTA nominations (One win for The King's Speech), six Golden Globe nominations (one win for The Painted Veil), and two Grammy nominations. In fact, he's basically been nominated every year for the past 5 years, but much to my chagrin and angst, he's not as decorated with awards as he should be. If he doesn't win the Oscar for Argo this year...well,  I guess we'll get 'em next year, Alexandre.

His music is glorious. The biography on his website says that he composes with two major ideas in mind: "function and fiction." "Function" means his music fits well with the overall design and mood of the film and accompanies it appropriately. "Fiction" means that his music should go deeper than just accompanying the film and make clear the characters' deeper psychology and emotions, something which cannot always come across with clarity on film. Before reading his website earlier this week, I had no idea that those were his goals, yet I could have told you that his music always does exactly that. It always fits the film and it always gives the characters more emotional depth (even if they don't actually have it-See Twilight: New Moon) 

Interesting Facts:
-His wife is a violinist in the Traffic Quartet. She collaborates with him on his work, and he collaborates with her on her work by arranging music for her.
-His father is French and his mother is Greek, but they actually met in the US while studying at univerisity together. When they got married, they moved back to France where Desplat was born.
-He has written music not only for film, but for the theatre as well. 
-He composed for the last two Harry Potter films! If you loved those movies, you will probably love his music! 

This week, my challenge to you all is to go out and listen to Alexandre Desplat's work. Here's a Youtube video to get you started. Every score is different, but he definitely has a distinct sound that is unmistakably his own. Let me know what you think of his work! I love it so much that it's probably unhealthy. Or maybe it is healthy,  because whenever I need to unwind or get myself in the zone, I listen to his music! Anyway, have a good Valentine Day, everyone! I hope you feel loved today :)

Argo Review and Feburary Scores!

Hey everyone! Two things today-First, I'm going to give my thoughts on the score for Argo by Alexandre Desplat. Why? Because Desplat's score is nominated for an Oscar and I have reviews for all the other nominated scores! Argo came out before I started writing this blog, so I didn't have a review for it, but now I will. Second, I'm going to list the scores being released this month, which I will review at the end of the month in a master score review post! Ready, set, go! 

Argo, by Alexandre Desplat-9/10
Did it fit the movie? Yes and yes. I just saw Argo itself for the first time last night and while I was watching it, I couldn't shake the feeling that I had already seen the movie before, and it's not because the story was predictable or cliched. I think it's because I've actually been listening to this score for the past four months since Desplat is one of my top two favorite composers and I listen to all of his work. Each musical track was familiar to me, and each track came right when it should have in the unfolding of the plot. The music itself is a creative blend of exotic instruments, percussive vocals,  drums, and traditional orchestral sounds. A good example of the interplay of these is Hotel Messages.
Did it make me feel something? Yes. The first time I listened to the score, I was in the middle of doing homework. My roommate walked into the room and said "This is great working music!" And it is! Many of the tracks move at an urgent pace, but not like the angry, vengeful urgency of Desplat's Zero Dark Thirty score. It's a worried, rushed urgency, like there's a time limit that needs to be met. It is really great music to listen to while working because it heightens your sense of time and makes you move quickly. Not all of the tracks are like that, however. The Mission slows down, with horns blaring out a gorgeous, grand melody line that made me smile. Cleared Iranian Airspace is so gentle and peaceful, like coming out of a storm. I fell asleep listening to that track the other day.
Is it original? Yes it certainly is! I've never heard anything like those vocals I mentioned earlier. You can here them on Scent of Death too. It's almost as if Desplat decided to use the different sounds of fast and heavy breathing as percussion instead of drums. 
Did I like it? I liked it a lot. In fact, I'm listening to it now while writing this post! Purchasing suggestion? Buy it. The whole album is great and has tracks for every purpose, whether you need to relax or need to do work with some urgency.

And now, here is your list of scores for February! As with January, there's not many, because many films are released before awards season and not during it, but hopefully there will still be some great music to hear this month! These are the four full length scores that I found that will be released this month.

Side Effects by Thomas Newman      

Beautiful Creatures, by thenewno2

Escape from Planet Earth by Aaron Zigman

A Good Day to Die Hard, by Marco Beltrami

And that's all I have for you today! I hope you have a great week. Keep listening to those Oscar nominated scores and let me know what you think of them! The complete list of nominated scores can be found in last week's post. See you next week for our February composer of the month!

January Score Reviews and Oscar Nominees

Hi all! Welcome to another Incidentally, Music blog post! Let's jump right in with my thoughts on some scores released in January. For those of you new to the blog, I judge scores based on a few things-first, does it fit the movie? The music I hear needs to fit what people see on the screen.  Second, does it make me feel something? I know this is a weird question, but one of the points of a movie score is to provide emotional support to the action in the movie. So the music needs to make me feel something! It needs to convince me! Third, is it original? I like scores that do something different, whatever that may be. Maybe a melody pops up that's completely different from any other scores I've heard before. Maybe there's a new instrument that give it a unique sound. Fourth and finally, do I like it? I'm not pretending to be an impartial judge who's word is law. Some scores I will rate high because I like them. Other scores, I will not rate high, because I don't like them. All my thoughts are just that-my thoughts. I'm just trying to get more people to listen to movie music and give the art form some love <3

Gangster Squad, by Steve Jablonsky-4/10
Did it fit the movie? Yes, I think so. It was dark and adrenaline pumping. Jablonsky make use of driving percussion and strings a lot, with horn hits in between and the occasional harmonica.
Did it make me feel something? No, not really. My heart did kinda jump at points like in the track You're Talking to God, when the sound got really loud and intense, and the one track that got me excited was Welcome to Los Angeles, in which there's this really cool beat with a fun string melody. The problem is that the score pretty much just sounds that track the whole time. Perhaps in this movie, the absence of music served to make certain scenes more dramatic because I kept waiting for some kind of dramatic rise beyond the heart-pumping drums and strings, and I didn't really feel it.
Was it original? For the most part, no. It sounded like just another action movie score to me, with the driving beats and strings.The addition of the harmonica was unexpected and new, though, so that was kinda interesting. I didn't expect it! 
Did I like it? No, not particularly. There was no melody, and I have a hard time with scores that have no recurring melodies. It's a personal preference, though. I think that scores can be successful without melodies, but it's harder for me to relate to them when they don't. Purchasing suggestion? I personally wouldn't buy it. I just didn't like it enough. Listen to it on YouTube and see you agree!

The Impossible, by Fernando Velasquez-7.5/10
Did it fit the movie? Yes, completely. I had no trouble imagining a family struck by tragedy while listening to this score. Lots of strings and piano mostly, with a cello solo popping up consistently throughout and some woodwinds. 
Did I feel something? Oh yeah. Every single track was designed to pull at your emotional center in some way. Most of the music was longing and heart rending except for Is It Over?, which sounded totally frightening-I'm guessing it came at the point when the family was separated from each other. I felt the separation, loss, and devastation come through very clearly.
Was it original? No, and here's where I took off a couple rating points. Although I really enjoyed the melodies, they just seemed a little too predictable to me. Also, although the use of solo cello with strings and piano was lovely, it's also not very new. I've heard plenty of scores with a similar sound.
Did I like it? Yes, I did :) It made me long for my home and my family, and whenever scores make me feel something in my own life, I usually like them. It was very peaceful to listen to while reading or cooking or doing homework, and there are some tracks that I absolutely love, including Go and Help People and The Impossible End Titles. Purchasing suggestion? Buy the tracks you like! They're worth it.

 Promised Land, by Danny Elfman (January Composer of the Month)-7.5/10
Did it fit the movie? You know, at first I wasn't sure if it would! Bouncing back from Silver Linings Playbook, Elfman's usually whimsy and dream-like style comes through strongly in this score, and I don't really think "whimsy" when I think of a movie about the fracking industry. But the more I listened to it and the more I thought about it, I realized that it works. Why? Because the whole premise of the movie plays on people's hopes and dreams. The title refers to the hope of the promised land, the home God promised to the ancient Israelites in Biblical times. So I think a whimiscal Elfman score works well! True to his style, there's lots of woodwinds, xylophones, and strings.
Did I feel something? Yes. Tracks like Traveling made me think of moving through life holding onto a dream or a goal, and letting that drive my actions. Weepy Donuts, although humorously named, actually made me sad-it's just a solo piano with a few strings, playing out a simple melody. I think of longing for a lost time in my life when I hear it.
Was it original? Yes, and here's why-the haunting female voices that show up every once and awhile. They're child-like and on the line between eerie and friendly. I thought it was a perfect addition, and it made the score just different enough from others I've heard, because some of the music does sound very familiar to me.
Did I like it? Yes, I think so. It wasn't a perfect score, but I enjoyed a few tracks very much. The ones I mentioned previously, as well as The Speech. Purchasing suggestion? Buy the tracks you like and support our composer of the month! 

Zero Dark Thirty, by Alexandre Desplat-8.5/10
Did it fit the movie? Totally. Dark, intense, scary, horrible, suspenseful, sad, angry, frustrated, heartbroken, lost-all of these adjectives and more came to my mind at some point while listening the score, and I think all of these things apply to the hunt for Bin Laden. Desplat uses a variety of instruments, some definitely Middle-Eastern, others more traditionally orchestral.
Did I feel something? Yes, I did. In fact, the score was almost uncomfortable to listen to at some points because of the darkness embedded in it. I let it run in the background while doing homework, and my work suddenly took on this tone of urgency. I felt uptight and uneasy. It's not that the music is awfully written. It's just...uncomfortable. I can't really describe it. Listen to it and you'll understand! There were a few tracks that tugged at my heart too-Maya On Plane is my favorite.
Was it original? Very much yes. The melodies, though few, were unique. I heard so many instruments and some interesting electronic effects as well. Bombings has this sound in the background of the track that sounds like a slow, twisted, almost evil heartbeat, and I'm really curious about how they made it. Monkeys and Flight to Compound have similar "heartbeats." 
Did I like it? Yes, and here's why-because it's extremely well crafted. Every track has something distinctive about it, distinguishing it from the others. I've noticed this in other works by Desplat as well. He makes every track different, and I love that. It's also tailored to the film's subject matter very well, another thing Desplat is famous for. Purchasing suggestion? Buy only the tracks that you know you'll want to listen to again and again. Most of the score is too uncomfortable for that, but I still think it needs some love and support!


And now, ladies and gentlemen, the nominees for Best Original Score are: 

Mychael Danna, Life of Pi

Alexandre Desplat, Argo

Dario Marianelli, Anna Karenina

John Williams, Lincoln

Thomas Newman, Skyfall

Yay! Congrats to all the nominees!  The exciting thing about all of these is that I've reviewed 4 out of the 5 scores nominated (see here and here). Your challenge this week is to listen to all of these scores, which is easy because they're all on Spotify for free listening! Comment below or on my Facebook page to let me know which one you think should win! I'll review Argo next week, along with giving my predictions for who will win :) Thanks for reading and have a great week of good music listening!

Part Two: Orchestration!

Hi everyone! About a month ago, I wrote Part One of a series about the score writing process. In that post, I described some of the people that are involved in developing a score and syncing it to a film, such as composers, music editors, etc. (See full post here) Today, I'm continuing that series by talking about the what, who, why, and how of orchestration. 

What is Orchestration? 

 1. the arrangement of a musical composition for performance by an orchestra
 
 2. harmonious organization. 

The first definition is more informative, because it tells you exactly what orchestration means! It's taking a simple melody and developing it for a larger group of instruments to play (it doesn't have to be an orchestra necessarily). I really like the second definition, though, because I think it conveys what orchestration sounds like-taking a melody and organizing many instruments to play it, giving it harmonies and layers that the original composition may not have had. This is harmonious organization.

Who orchestrates?
Well, um, the orchestrator does. Go figure. But the orchestrator could also be the film composer or the orchestra conductor as well. Like I said in my previous post, it depends on who's scoring the film and what their preference is. Howard Shore, the composer of the Lord of the Rings music, both composes and orchestrates his music. January composer of the month Danny Elfman, however, just composes the melodies and has an orchestrator arrange the melodies for him. I think this is interesting because it's often the film composer who gets the credit for writing the music when in fact, it might be the orchestrator or team of orchestrators who write most of the actual music you hear in the film. (Not to belittle the composer, though, because coming up with good quality melodies is so much more difficult than it sounds. )

Why orchestrate?
Why indeed? After all, what's wrong with a simple piano or a lone violin? Who needs a big complicated orchestra playing in the background of a movie? Well, sometimes you don't need an orchestra! There are situations when orchestration isn't necessary when crafting a score. Maybe it's a low budget indie film and so there's not enough funds to hire an orchestra to play the score. Mostly, it comes down to the director's vision for the tone and feel of the movie. If piano solos fit the tone, then piano solos will be the score. If it's an epic movie that calls for sound to match the dramatic onscreen action, then the score will probably be orchestrated for many instruments to provide a fuller sound.

How do you orchestrate?
When I first started arranging my own music for orchestra, I thought it would be easy. Write a piece for piano, pick instruments I like, distribute the piano chords across them, and boom. It's orchestrated. But I soon found out that it's much more difficult than that. There's tons of things an orchestrator must consider when arranging a composition. 

Say you write a song on the piano. You decide that your piece might sound good played by a full concert orchestra so you decide to orchestrate it. Cool. One of the first problems will be getting the instruments to play together in the same key at the same time. Why? Notes on some instruments do not match up to notes on other instruments. For example, the note C on the violin sounds like a B flat on a trumpet. This means you have to take the music you've written and make sure it's in the correct key for each one of the instruments so that the melody sounds right. If this sounds confusing, that's because it is! Even I don't completely understand this!

Now that you have the keys all worked out, you need to write out the parts for the instruments to play. When you do this, you actually have to write music that's different of your original composition. You have to know the harmonies, the counter melodies, the notes just hanging out the in background, and even the drum beats. You have to decide which instruments get the melody line at specific points in your piece, which instruments are providing harmony, which instruments come in then fade out and when, etc.

You also have to balance the instruments to get the right sound level and to make sure the melody gets heard. For example, you've figured out that you want the violins to play the melody and the trumpets to play the harmony. But, trumpets are naturally much louder than violins, so you need to have the correct balance of sound to make sure the melody gets through the blare of the trumpets. You could do this by varying the number of trumpets playing, maybe 2 instead of 10, or telling the violins to play as loud as possible to make sure they're heard.

What about the tempo, or speed of the music? Well, when you were playing your song by yourself on the piano, you could speed up or slow down whenever you wanted because it was just you. Now, there's tons of instruments that have to all speed up and slow down at the same time. You need to make sure that you write parts that allow for the instruments to change their tempo without sounding like a train wreck.

These are just a few of the problems I've encountered while orchestrating, and I'm sure I could list a few more, but you get the idea. ORCHESTRATION IS HARD! Although, like most things in life,  it is made easier today by computers. Aspiring orchestrators like myself can make use of various programs that get instruments in the right key or write out parts for us so we don't have to do it manually. Yay technology! 

Well, that's all for today. I hope you've enjoyed reading this post about orchestration :) It's definitely one of the things that I want to get better at in the future, so I've had fun learning more about it by writing about it! If you want to read more about the art of orchestrating, I suggest reading Principles of Orchestration, written by Nicloai Rimsky-Korsakov, who composed Flight of the Bumblebee and other wonderful music. His book was first published in 1922, and it's still one of the definitive texts on the subject! It's timeless. Anyway, thanks for reading, and check back next week for four January score reviews and a peak ahead to the Oscars!

And the January Composer of the Month is...

Hi everyone! I'm back from my adventure in Nicaragua! It was absolutely wonderful. Unfortunately, I didn't get to the chance to listen to any of the native music, but I did hear some samples of the pop music that's popular there-It's called "reggaeton" and here's what it sounds like-groovy and good for dancing. My group had the opportunity to take a dancing class while we were there, and we did some shaking and moving to this kind of music :) Super fun!

Danny Elfman

Today, I'd like to introduce you to the January Composer of the Month...Danny Elfman-the composer for all the Tim Burton movies (A.K.A. your nightmares), the Simpsons TV show theme, Batman, and Spiderman! I had fun reading about his journey to becoming a composer because it is kinda unconventional. Daniel Robert Elfman was born May 29, 1953. He was interested in movies as an art form from an early age, but his interest in until high school. He was friends with many artistically inclined individuals, some of whom were musicians. He didn't play any instruments, but watching his friends play their music made him want to learn. 

Young Danny in Oingo Boingo

After high school, he decided to buy a violin and go traveling the world instead of going to college right away. He stayed with his brother Richard in France for awhile, where the brothers toured with a group called the Grand Magic Circus, a musical theatre group. After touring with this group for a few months, Danny separated from Richard and went to Africa for a year, where he learned how to play drums in addition to improving his skill on the violin. While he was in Africa, Richard had returned to the US and started his own musical theatre group called the Mystic Knights of the Oingo Boingo. When Danny returned, Richard invited him to be the group's musical director. He also sang and played trombone, violin, and percussion in the group. After the Mystic Knights disbanded, Danny formed the punk band Oingo Boingo, which toured until 1995. Here's one of their hit songs.

While Elfman was touring with Oingo Boingo, he began writing movie scores! His first score was for "Forbidden Zone" in 1982, which was written and directed by his brother. His work on this soundtrack and for Oingo Boingo attracted the attention of Tim Burton, who was beginning work on a movie called "Pee Wee's Big Adventure." Burton hired Elfman to score this film in 1982, and the rest is history! Since that time,  Elfman has been one of Hollywood's most prominent composers. In addition to his collaborations with Tim Burton (which include Batman, the Nightmare Before Christmas, Alice in Wonderland, and most recently, Frankenweenie), Elfman has worked on many blockbuster films films, including the Spiderman trilogy, the Men in Black trilogy, and the first Mission Impossible. 

What most impressed me about Elfman is the fact that he is self taught! He has little to no formal musical training. He taught himself all he knows about music! I think that's amazing and possibly reveals a little bit of musical genius :) Another interesting fact: He is actually the singing voice of Jack Skellington in The Nightmare Before Christmas! I didn't know that before. I chose him to be our composer for the month because in 2012, he released SIX new scores. He's been busy, so I think he needs a bit of love and appreciation. 

That's all I have for this week! Come back next week for Part Two on my series about the scoring process! Assignment for the Week: Listen to Danny Elfman!