22 February 2014
For Paolo Buonvino the features and details of film’s music are totally different compared with the music. These imafes and words are his creative starting point for film production. As the musician said: “The musician who has a picture in front of him has an interpretative funnel and must be careful what happens in the history and images.
There are two essential points of the interview: on the one hand the description of the process of reception of the soundtrack, on the other hand the characteristics of the singular creative mechanism that produces it and which cannot be separated from the received channels.
For cinema, film’s music has to vibrate the emotional cells with which the viewer decides to sit in the room and watch the movie, uninterrupted for an hour or more.
For television, the mechanisms and techniques are different and are linked in some way to a totally different viewer: “The other thing is the viewer’s attention. When they are on TV they can easily switch channel. This requires put both the assembly of the story and how the story is told, captures the viewer’s attention constantly. ”
For the creative process Buonvino describes in detail his collaborative work with writers and directors that the film’s music needs to create a synchrony, or a deliberate dystonia, between the rhythms of what’s filmed and how’s edited: “From conversations with the director I had an important input related to the emotion that the director decides to give the scene “.
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