Film scoring for silent film has long been something that has interested me, even before I had the pleasure of seeing films with live accompaniment at the IU Cinema. It’s a practice that seems both endless and finite in its possibilities. You can create something that’s in the pocket of the era the film was produced in or you can make something that’s wildly idiosyncratic and anachronistic for bold effect, but at the same time you’re trying to serve a visual medium… a medium that benefits heavily from the addition of musical voices and sound effects. It’s a fascinating knot to untangle, which is why I love sitting down with composers to pick their brains about the process.
This time I had the pleasure of sitting down with the 2022 winner of the Jon Vickers Scoring Award, composer and saxophonist Daniel Whitworth, to discuss his background in cinema and composition and the process of working on such a demanding undertaking. He also talks about some of his musical influences, including the works of contemporary classical composers. If you enjoy the interview, then please join us on February 26th for the world debut of Daniel’s score for the silent film directed by Oscar Apfel, Phil-for-Short.
The interview begins at 07:27.
The new orchestral score for Phil-for-Short will have its world premiere at IU Cinema on February 26.
David Carter is a film lover and a menace. He plays jazz from time to time but asks you not to hold that against him. His taste in movies bounces from Speed Racer to The Holy Mountain and everything in between.
Aja EssexAja Essex
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