
The score was built out of materials that I hoped help tell the story and signal shifts in mood or "between the lines" stuff. (That's a funny term to use for a silent film, but I can't think of a better way to put it.) So I had a two-part fanfare (statement and response style) for the good prince, a minor key melody for the bad prince, a tune for the gal they both loved, and a motif for gambling, which itself plays a big role in the story. (Not surprising, given the film's title.)
Other stuff happened here and there for other characters, and a scene that features "jugglers" (the film's all-purpose term for court entertainers) resulted in some unplanned carnival-like music that stood in stark contrast to the mostly-Asian-sounding scales I used otherwise. I actually liked this, as it seemed refreshing and came just when the film needed it.

Taking a breather now before hitting the road this weekend with 'Tol'able David' and 'Hell's Hinges' in Brandon, Vt. and Ogunquit, Maine. Will brush up Thursday or Friday, just to make sure I handle the cross-cutting in 'David' so that the film's finale holds together like it should. Otherwise, it's off to the movies!
Oh, got a request this afternoon to screen 'Pandora's Box' (1928), the Louise Brooks film directed by G.W. Pabst. It's on my list -- we'll see when we can get to it.
No comments:
Post a Comment