PARALLAX is such an amazing little short film because it is doing so much with so little. With less than a ten minute footprint, the movie is calling upon many resources so that it can be the best that it could be.
For this reason, I enlisted the help of the very capable Gregory Vilfranc, who I highly endorse for work on other projects. I visited him in his studio on Friday morning and I was gingerly surprised with the work that he had done up to that point. I provided him some direction that I wanted the score to go in and he succeeded on working with my vision. Admittedly, I have a bias for movie scores from the ’60s and ’70s, so my reference material came from that era. I wanted woodwinds and a string section to emphasize the footage.
The sample that I heard was airy, emotive, and somewhat mesmerizing. It drew you into the movie without taking over. It supported the footage. Equally, the footage did not overpower the score. Harmony was achieved.
Gregory informed me that he benefitted from our communication and joint enthusiasm for the project. That, he says, is crucial for him while scoring. Remaining enthusiastic motivates each player on the team, who, in turn, reciprocate. The enthusiasm becomes viral.
The new edits that I made (and blogged about the other day) also served to stimulate his creativity. Oddly, we both had been watching the edits over and over again in our studios, unbeknownst to the other. We’re each highly motivated from the current state of the movie.
As we near completion, there will be more and more communication and feedback. All of this work is going to ensure a wonderful finished product.
