Issue link: https://digital.copcomm.com/i/3788
than at the beginning or end, especially if it is a complex piece with transitions. It can take longer to figure out a seamless way to add that 10 sec- onds than it took to write the piece in the first place. Not that anyone should tailor their film to make the composer's work easier, it's just a fact that what seems simple can in reality take a lot of time. Where the music goes out should be communicated to the composer too, whether you have a preference for a fade out or an ending that caps for each cue.You might want to leave that up to the composer unless something hits you the wrong way. These length issues can be critical if live instruments are involved in the score. Adjustments can some- times be made after the record- ing, but it is better to lock the music ahead of time. And com- posers know that music exiting can be as powerful as music en- tering. Don't be afraid of silence. F I X I T I N T H E M I X ? There are no rules about the "correct" music for film. It really is a personal and subjective choice that a producer must decide is right for their film. Good commu- nication of all the above is critical to ensure that the music does what you want it to do, and that you know exactly what you have before the mix.The worst feeling you could experience is to be in- secure about the music and end up aimlessly trying musical alter- natives in a mix, or mixing the music so low as to minimize its impact. And I would be remiss if I did not offer up an example of what occurs when good commu- nication skills are practiced: I point to a film I scored for Nature (PBS) called "Crash: A Tale of Two Species," produced by Allison Argo. This is a superb film with cohesive and imaginative music that only happened because the producer knew how to commu- nicate. It can be viewed at http://www.pbs.org/wnet/nature/e pisodes/crash-a-tale-of-two- species/video-full-episode/4772/. P O S T P O S I T I O N S [ cont. from 44 ]