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Danny Elfman teaches music for film Masterclass screenshot
AudioZ Exclusive | .mp4 Video | 8.28 GB
Four-time Oscar-nominated film composer Danny Elfman, the artist who created the music for The Nightmare Before Christmas, Good Will Hunting, and more than 100 other films, teaches you his unconventional, uncensored creative process and techniques for elevating a story through sound in his first-ever MasterClass.

Content:
01 Introduction

Meet your new instructor: four-time Oscar-nominated composer Danny Elfman. He gives an overview of the class and welcomes you to his surreal and macabre world.

02 Beginnings

Danny wasn’t a classically trained musician before becoming a film composer—and he doesn’t think you need to be, either. He shares his unexpected journey to film composition.

03 Starting Your Score: The Spotting Session

The first day on the job for a film composer is the spotting session, where it’s critical to listen to your director. Danny explains how to map out your score and determine length, budget, and how to overcome temporary music.

04 Storytelling Through Music

To be a film composer, you must first be a student of cinema and film scores. Danny highlights how various scores throughout film history have elevated the director’s vision as well as influenced his own work.

05 Themes and Melodies

A theme or melody can be everything and nothing at all; it can come easily or take a long time. Using examples from some of his most well-known scores, Danny teaches you how to create and identify themes and melodies for your film’s score.

06 Real Time Listening: A Simple Plan

While listening to the score he wrote for A Simple Plan, Danny walks you through how he crafted it and explains his choices.

07 Instrumentation

There is no right or wrong instrument to convey a certain emotion. Danny shows you ways you can build tone, energy, and movement through your choices in instrumentation as well as how to treat, prepare, and play your instruments.

08 Tim Burton's The Nightmare Before Christmas

Writing specifically for a character can be daunting. In this case study, Danny discusses the process of creating the score for The Nightmare Before Christmas and how he collaborated with Tim Burton to invent Jack Skellington's story.

09 Workflow

When you have a disorganized mind like Danny’s, studio and project organization are key to a successful career. He shares his process for organizing his studio, how he chooses his software, and the big board that keeps track of his output.

10 Creating Your Template

Identifying the tone of the film can dictate the sounds that make up your template. Danny walks you through how he creates a template from which to build a score, and he tells you how being prepared can help you realize your vision.

11 Insecurity and Instincts

Artists are filled with doubt. Danny talks about how to manage that doubt and move forward. He opens up about his vulnerabilities, how he overcomes them, and how he sharpened his instincts to make better career decisions.

12 Writing Feature Scores

To map out a score, you need to figure out the tone and identify the moments that define the film. Using examples from films of different genres, Danny shows how he reverse-engineered the scores to reflect key moments and the tonal landscape.

13 Changing Your Approach: Milk

Using Milk as a case study, Danny explores how a literal approach to scoring for the script isn’t necessarily the right decision and how improvisation can often be the missing piece to the puzzle.

14 Chasing a Moving Edit

Composing to an evolving film is a challenge. Danny explains how to find the editor’s tempo and rhythm, how to get in to and out of musical phrases, and how to sync to picture.

15 The Devil's in the Detail

Danny loves the process of detailing. He shows a scene from Lawrence of Arabia to illustrate how sound design and detailing can elevate your score.

16 Real Time Listening: The Unknown Known

Danny listens to the score he made for The Unknown Known and explains how creating the villain’s theme for this documentary was not as straightforward as you might think.

17 On Failure

Even seasoned composers like Danny face failure and have to pick themselves up again. By opening up about a temporary falling-out with Tim Burton, Danny shows how to overcome your ego and persevere in the face of failure.

18 Working With Directors

Collaboration with directors is a subtle art form that Danny has cultivated for more than 35 years. He offers advice on how to talk to your director, present your ideas at playbacks, and receive feedback.

19 Crossing the Line

There is a line between influence, homage, and plagiarism. Danny illustrates how the line is drawn, when you have overstepped the boundaries, and how to rise above and maintain originality.

20 Advice to New Composers

As a composer with no classical training, Danny offers a different perspective on getting into the business. He encourages you to find what makes you unique, pursue what you can do best, and promote that aspect of yourself to be heard.

21 Closing

Danny reflects on the journey he has taken together with you, as an old miner might tell stories around the campfire to young gold seekers before they venture out into the world to strike (cinematic) gold.





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comments

  Resident 22.05.2014 73 695
+1460
Beautiful Masterclass! Thanks Oly & Anonymous Member!
  Member 16.10.2013 253
+32
It will be valious for me! Thanks!
  Resident 26.01.2014 2328
+1221
All respect for the work Mr. Elfman does, and what he has done in the past, and I am not questioning for one second his talent, but.....


it appears he left out part 22: "Having a Stable of underpaid composers ghost writing for you and paying them little to nothing, giving no credit, and consolidating their work into his ouvre".
..grateful for HEXWARS, R2R, SYNTHiC4TE, CASHMERE & ALL teams, AZ crew past and present, and friends I have met here who I care for and have been nothing but amazing to me.
  Resident 30.12.2017 1001
+407
Is ghost producing very prevalent in the film composer community?
  Resident 26.01.2014 2328
+1221
quote by EpicShowdownIs ghost producing very prevalent in the film composer community?


unfortunately, yes. it really is. and has gotten FAR FAR FAR worse over the last 7-10 years. The "big names" buy up younger up and comers, pay them more then they would make doing nothing essentially, dangle the carrot, and they do most (well, depending) a fair amount of the cues and whatnot, with the "composers" ala "elfman" "mothersbaugh" etc approve the work and more executive produce it... and it's their name on the product.

same thing with tv shows without question, (ever wonder how one guy composes 4 +different shows a week? It isn't humanely possible. It is a stable, under his/her umbrella, under which the approve/over see etc...

which would be fine if they either explained it that way, or gave these people some "credit", as they don't get "credit" ,, therefore, can't rise up any ladder, and the rich get richer. and there are fewer and fewer opportunities as this is happening en masse across hollywood etc.

really sad.
..grateful for HEXWARS, R2R, SYNTHiC4TE, CASHMERE & ALL teams, AZ crew past and present, and friends I have met here who I care for and have been nothing but amazing to me.
  Resident 30.12.2017 1001
+407
Oh, that is indeed outrageous. Kinda reminds me of how Google and Facebook buy out their competition. Except, the young newcomers aren't exactly competition, they're basically the next generation. Also I wonder to what extent those ghost producers get pensions or some kind security for their old age. Seems like, if they have outlived their usefulness, they'll just be dumped without any actual credit for it (I assume they will most likely be under NDAs). Thanks for the insight.
  Resident 22.05.2014 73 695
+1460
I would like to know how to get to the "big names" to sell them "compositions".. xD
  Member 26.05.2012 17 1290
+658
Yeah... You work and you learn... you're an understudy and a "gopher" ("go for this please", "go for that please")... so what, when it's all said and done... you are christened and released to become Harry Gregson-Williams or John Powell or James Newton-Howard or Benjamin Wallfisch or Lorne Balfe or Jeff Rona or Ramin Djawadi or Junkie XL or Klaus Badelt or the other 84 composers who wrote for Hans Zimmer and Remote Control Productions... it's called "paying your dues".
  Resident 26.11.2015 793
+275
i agree that the whole team should get credits (and they probably do on larger films where the credit role can be exhaustive, tv shows not so much) - but i think most musicians starting out in the 'game' would rather get any kind of pro experience and do the work for some kind of paycheck than work at starbucks or wait tables. but this kind of "ghost writing" is no different with the artists that work under the big famous painters (salvador dali had this, chihuly has this, andy goldsworthy, many more do this) or no different than composers working in, say like a mobile video game studio(where the game credits aren't listed anywhere in the game). i think i remember reading that ramin djawadi did this ghost writing stuff for hans zimmer - but then hans zimmer passed off and let him "own" bigger project like game of thrones so i don't think ghost writing can be a totally bad thing (maybe depends on how good you are and how nice your "boss" is).
make music, not walls.
  guest -- 0
0
Great (!), really like his work for Terminator Salvation (or whoever did this ;).
  Member 20.07.2013 7 190
+269
Any clickupload or Zippy links, please?
  Moderator 21.01.2012 1302 12149
+77577
Unfortunately, Zippy blocked themselves where I live, and it's too complicated to upload all this through a vpn. Sorry

You can use aldebrid or one of these solutions
  Member 19.11.2019 1 2
+30
I have a magnet link if you are interested
  Moderator 21.01.2012 1302 12149
+77577
Torrent added thanks to CrackemALL

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