Issue link: https://digital.copcomm.com/i/1515786
aspiring and novice filmmakers, as well as composers, music editors, and music supervisors recognize the need for music but struggle with figuring out where and how to use music in their productions," he said. "Some feel intimidated by music, too. As someone who's created countless temp scores, this is something I've been doing for many years — finding the tone of a film/TV show, where to add music, where not to, and the role the mu- sic should play." W h a t b e g a n a s a n idea for a Facebook group evolved into a four-year la- bor of love that culminated in the publication of his new book, "Every Note Tells a Story," a practical handbook that provides filmmakers and directors with an illumi- nating overview of the film scoring process. Featuring a wealth of handy resources and advice, personal anec- dotes, expert film-scoring strategies, and real-world case studies of these les- sons in action, readers will discover how to enhance and enrich their storytelling through the transformative impact of music. "Music is yin to f ilm's y a n g ," w r o t e l e g e n d a r y editor/sound designer and three-time Academy Award w i n n e r W a l t e r M u r c h , ACE, in his endorsement o f t h e b o o k . " T h e y h a v e co-existed since the dawn o f c i n e m a . S h i e R ozow 's 'Every Note Tells a Story' is a superb and comprehensive guide to how music and motion pictures work together and complement each other, probing the dicult questions of correct composition, performance, and placement." CineMontage recently spoke with Ro- zow about how he hopes the book will be utilized by the next generation of aspiring composers, editors, and filmmakers. CineMontage: Your first book was "Preparing for Scoring Sessions," published in March last year. How does this book dier? Rozow: 'Preparing for Scoring Sessions' is a much shorter book and is a detailed practical guide to everything from sched- uling and budgeting to preparing Pro Tools sessions for recording and mixing, to deliv- ering final stems to the dub stage. It's very specific to that topic, while 'Every Note Tells a Story' discusses the role of music, how it affects the story, delves into how the pro- cess works, the dierent roles of the music team, and culminates in a collection of case studies discussing real-world projects. It's much broader and about four times bigger in terms of page count. CineMontage: Who do you hope will read it, and what do you hope they'll do afterward? R o z o w : T h e p r i m a r y a u d i e n c e i s f i l m m a k e r s and people interested in working in music for film/ TV/Games. This includes aspiring directors, produc- e r s, e d i to r s, c o m p o s e r s, music editors, and music supervisors, though I tried to write it in such a way that would be interesting for film music fans, too, who want a glimpse behind the scenes into how it all comes together. I wrote it in a very modular way, so one can just jump around and read only the parts they're interested in, or they can read it from cover to cover. I have a pretty extensive i n d e x to h e l p t h o s e w h o wish to jump around. My hope is that readers will get a better understanding of the dierent ways music can help tell a story as well as how the process works and who does what. Ideally it will remain a useful re- source that they can refer to when they 're working on projects. CineMontage: How did you decide on the book's organization? Rozow: I realized that, broadly speak- ing, I was discussing three topics: how music functions in visual media, how the placement of music affects the story, and how the stylistic approach to the previous two topics affects the story, so those be- came the first three chapters. 31 W I N T E R Q 4 I S S U E F E A T U R E