Film orchestration

Due to the enormous time constraints of film scoring schedules, orchestrators are employed. Some film composers have made the time to orchestrate their own music; most notably Howard Shore, Ennio Morricone, Don Davis (who started as an orchestrator in the film business). Howard Shore orchestrated his own music for The Lord of the Rings film trilogy (and wanted a rare front end credit stating this). Shore continues to orchestrate all of his own film scores. When Ennio Morricone was asked at a seminar why he doesn't hire an orchestrator, his response was, "Did Beethoven need an orchestrator? Did Bach?"

Although there have been hundreds of orchestrators in film over the years, the most prominent film orchestrators for the latter half of the 20th century have been Herbert W. Spencer, Edward Powell, (who worked almost exclusively with Alfred Newman), and Alexander Courage. Some of the most in-demand orchestrators today (and of the past 30 years) include Jeff Atmajian, Pete Anthony & Brad Dechter (James Newton Howard, Christoper Young, John Powell, Hans Zimmer), Conrad Pope (John Williams), Eddie Karam (John Williams), Tony Blondal (Rolfe Kent, Henry Jackman, Chris Young, Ramin Djawadi et al.), Bruce Fowler (Hans Zimmer, Klaus Badelt), Robert Elhai (Brian Tyler, Klaus Badelt, Elliot Goldenthal) and J.A.C. Redford (James Horner).

Conrad Salinger was the most prominent orchestrator of MGM musicals from the 1940s to 1962. Jonathan Tunick is the most prominent orchestrator on Broadway and is one of twelve people (and the only orchestrator) who has won an award in all four categories of Oscar, Grammy, Emmy, and Tony.^[1]

Process

Most films require 30 to 120 minutes of musical score. Each individual piece of music in a film is called a "cue". There are roughly 20-80 cues per film. A dramatic film may require slow and sparse music while an action film may require 80 cues of highly active music. Each cue can range in length from five seconds to more than ten minutes as needed per scene in the film. After the composer is finished composing the cue, this sketch score is delivered to the orchestrator either as hand written or computer generated. Most composers in Hollywood today compose their music using sequencing software (e.g. Digital Performer, Logic Pro, or Cubase). These software programs are basically glorified recording devices with many different orchestral instruments (referred to as samples). A sketch score can be generated through the use of a midi file which is then imported into a music notation program such as Finale or Sibelius. Thus begins the job of the orchestrator.

Every composer works differently and the orchestrator's job is to understand what is required from one composer to the next. If the music is created with sequencing software then the orchestrator is given a midi sketch score and a synthesized recording of the cue. The midi sketch score only contains the musical notes (e.g. eighth notes, quarter notes, etc.) with no phrasing, articulations, or dynamics. The orchestrator studies this synthesized "mockup" recording listening to dynamics and phrasing (just as the composer has played them in). He or she then accurately tries to represent these elements in the orchestra. However some voicings on a synthesizer (synthestration) will not work in the same way when orchestrated for the live orchestra. The sound samples are oftentimes doubled up very prominently and thickly with other sounds in order to get the music to "speak" louder. The orchestrator sometimes changes these synth voicings to traditional orchestral voicings in order to make the music flow better. He or she may move intervals up or down the octave (or omit them entirely), double certain passages with other instruments in the orchestra, add percussion instruments to provide colour, and add Italian performance marks (e.g. Allegro con brio, Adagio, ritardando, dolce, staccato, etc.). If a composer writes a large action cue, and no woodwinds are used, the orchestrator will often add woodwinds by doubling the brass music up an octave. The orchestra size is determined from the music budget of the film. The orchestrator is told in advance the number of instruments he or she has to work with and has to abide by what is available. Sometimes a composer will write a three part chord for three flutes, although only two flutes have been hired. The orchestrator decides on where to put the third note. After the orchestrated cue is complete it is delivered to the copying house (generally by placing on a server) so that each instrument of the orchestra can be extracted, printed, and delivered to the scoring stage.

The major film composers in Hollywood each have a lead orchestrator. Generally the lead orchestrator attempts to orchestrate as much of the music as possible if time allows. If the schedule is too demanding, a team of orchestrators (ranging from two to eight) will work on a film. The lead orchestrator decides on the assignment of cues to other orchestrators on the team. Most films can be orchestrated in one to two weeks with a team of five orchestrators. New orchestrators trying to obtain work will often approach a film composer asking to be hired. They are generally referred to the lead orchestrator for consideration.

At the scoring stage the orchestrator will often assist the composer in the recording booth giving suggestions on how to improve the performance, the music, or the recording. If the composer is conducting, sometimes the orchestrator will remain in the recording booth to assist as a producer. Sometimes the roles are reversed with the orchestrator conducting and the composer producing from the booth.