Robert Duncan - 5/12/12 para Series Monitor
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Robert Duncan - 5/12/12 para Series Monitor
por qwerty Mar Dic 04, 2012 3:25 pm
A few weeks back I put up a request on SpoilerTV for questions from the fans for ABC's Castle and Last Resort composer Robert Duncan. The questions came at a really busy time for Rob, hence the long time period, but it was well worth the wait to hear what Rob has to say. So without further ado, here's the questions and the answers
1. First off, what do you think of Castle this season?? Are you enjoying the new direction of the show??
I think this is the best season yet of Castle, and kudos to Andrew and his team for stepping up to make sure every episode is an entertainment home-run in the face of the question that everyone asked in season 4: 'if/when Castle and Beckett get together and that tension is gone, will anyone still want to tune in?' I just finished the 'Christmas episode' 5.09 and I can say that Andrew is not one to rest on his laurels, he knew the time had come to let the show evolve into its next stage and everything I have seen so far just keeps getting better and better.
2. In a few of the episodes of Castle this season, we've heard varying versions of the amazing score "I Just Want You" that was made famous in the closing scene of last year's finale. Is this a piece of music that we will continue to hear in various forms throughout this season?? How do you go about adapting such a well known piece of music to fit a new scene??
Thank you. Some of the elements of that theme have some history. I had developed a darker haunting repeating piano motif for Beckett in prior seasons, often in conjunction with her mother's case and often underscoring the reasons that were keeping Beckett at a distance from Castle. It seemed fitting to re-invent and bring some of that to the Castle/Beckett love theme, but in a whole new context. There was still an element of caution, of waiting when Castle answered the door in the season 4 finale, and the repeating piano spoke to that moment of anticipation and non-closure until the kiss and the excitement and momentum carry it away.
3. The Castle/Beckett relationship is finally a reality this season. How has this altered the style of the music you are putting together for the various scenes between the duo?? Have you brought back some of the styles that we heard in the first couple of seasons in the series??
We found that some of the concepts in previous seasons aren't working for them anymore. From season one, there was a rivalry and a sparring trait to their underscore. Rob Bowman (one of Castle's executive producers) used to equate it to a bit of a chase between two animals and we almost had a sort of primal 'National Geographic' element going with the African ceramic drum playing to Castle's hijinks. That has all matured now, and although there is a long history and closeness between the two of them over the years and that has some tenderness, there is the other end, the saying that warns 'be careful what you wish for, you might get it.' We find Castle and Beckett bickering like an old married couple as seen in 5.08 'After Hours' and other episodes, that required a new language. It varies slightly from episode to episode, but safe to say there is a lot of fun, some tongue-in-cheek horror and some over-the-top dramatic moments to play with.
4. A lot of Castle fans have asked me to ask you what the chances are of a Castle soundtrack compilation being released. There is a lot of interest out there for one. Are you able to shed any light as to whether that might be in the pipeline??
There has not been any discussion lately about it. I have heard the demand for it, and I'm sure it will be a point of discussion down the road, but I'm afraid I can't say there are any plans in the works at the moment.
5. You're working on freshman show Last Resort this year. How are you finding it when compared to other projects you've been a part of??
Last Resort has been a real trip (unfortunately it won't go beyond the initial 13 episode run). Every week was like scoring a little movie. It's a very cinematic show with some great writing, acting and directing and I've had a blast working on it. Not to mention the chance to try and expand my percussion library in new ways aboard a real submarine!
6. What do you think of Last Resort as a concept?? How do you like the story and characters??
It's a bold concept, and I remember being intrigued since the minute I read the premise. I was already brainstorming ideas after reading the script and am very happy with the way the score turned out.
7. Watching Last Resort, it's immediately clear that the scores are completely different to Castle?? How do you compare and contrast the different styles and demands of the scores of each show??
It feels like speaking two languages sometimes, or at least two dialects. Sometimes you have to remind yourself that you're entering a different world and different musical rules apply. If I'm in Castle-mode and I switch on Last Resort and my musical brain says 'OK what's that crazy submarine Captain up to NOW???' I realize I still have the Castle mentality on the mind, and have to switch gears into a darker world. It's all about emotion however, and the show, the writing and directing takes the lead in guiding me toward the target emotions, I just have to carve my route in that direction.
8. Since you started out, what do you think are the biggest changes that the film and television industry has experienced from your point of view as a composer??
The biggest challenge I have found in TV has always been the time constraints. David Mamet, producer of The Unit said once "Doing a movie or a play is like running a marathon...Doing a television show is like running until you die." TV composers often are working around the clock as the mix approaches and just when you're ready to collapse and recover, the next episode is already around the corner. It takes careful logistics and a solid team to pull this off on more than one show at a time.
9. From your unique perspective, where do you think the film and television industry is heading in the near future. Are there any new innovations that are in their infancy?? In particular, what do you see as the biggest opportunities and obstacles you'll have to face as a composer??
Television is heading into the vortex of the internet and I don't know if anyone knows exactly how it will come out the other end. My job essentially depends on a small piece of the ad revenue that ABC gets for airing commercials during Castle. If those ad budgets are reduced because of internet broadcasts, or a different framework of doing business, I could certainly feel the effects on my end. We shall see, but for now things are still wonderful and I'm able to make a good living doing what I love.
One of the greatest new trends in television music lately has been the use of orchestra. It's coming back into fashion to have real musicians playing on TV scores. Everyone seems to be appreciating the difference in quality that it can bring to a show. I liken it to the difference between drinking freshly squeezed orange juice and orange juice from concentrate. Yes, they are both orange juice, but one is markedly more satisfying than the other.
10. Do you have a particular style of TV show or movie that you favor the most to score for, eg. comedy over drama, light hearted over serious?? Why??
One of the things I love about my job is the variety. Granted I was sad when I heard that Last Resort wasn't going to get picked up for the full 22-episode season, but at the same time I knew that the silver lining was that I had no idea what exciting new project would come my way to take its place. Moving from 'Lie To Me' to 'Chicago Code' to 'Terriers' for example, three completely different shows with completely different musical identities, it prevents me from getting too comfortable in one musical niche which is a challenge I love.
11. How much time does it take to score one TV episode?? What are some of the main factors that influence the time it takes to complete a score??
Every minute of music you hear on average represents between one and three hours of work. There are many factors that influence the time needed to complete. Whether or not a new sound or theme is needed, creativity takes time. If it is an action scene, there are usually a lot more notes in a short amount of time as the tempos are quick, so those take more time. If musicians are called in to re-record the parts and 'sweeten' the score, that also takes time to put the parts on paper and record their takes. Sometimes though, you watch a scene, and your fingers just move and out comes something completely effortless. Truthfully, that is how the Castle Beckett love theme came to be. I think my brain had processed their relationship and character for so long that when it finally happened, the answer was already there and it just came out on the piano in a matter of minutes. When that happens, I'll record it so I don't lose it, but I won't immediately trust it. I'll need to listen back with fresh ears, and after trying out some more things before determining if 'it's the one.' With the Castle Beckett love theme, it was virtually unaltered from my first improvisation. It's a beautiful thing when that happens!
12. Do you ever second guess your scores, or think you could have done something differently on the odd occasion when you look back??
I would go crazy if I let myself think about that too hard. The fact is, you need to react in real time with a fresh brain and place trust in what happens next. Maybe if had rice instead of fries with my lunch I would have written something different that day, but the fact is that is how I reacted at that moment and to that end. You dig into a scene, and you uncover all the nuances you want to highlight and the things you want to speak to that perhaps are not already obvious on the screen but most importantly you find the key target emotion you want the audience to feel when they watch and you zero in on it musically and try to hit the bullseye. If the scene needs to make the audience cry, I have to search for the chords that will make me cry. I will never feel satisfied with a piece until it has the desired effect on myself. Once it passes that test, I can begin to let it go.
13. To finish up, what are the most challenging, and the most rewarding parts of your job??
Managing it all within the framework of a weekly series is the biggest challenge. TV production is a machine that moves very fast. I'd love to spend more time on everything I write, and rewrite it five times and pick the best one, but that's not the reality. The most rewarding part of my job is when I realize I have played a part in a great piece of entertainment that people respond to and enjoy and then let me know that they liked the music!
Thanks for the questions, and thanks for listening!
Rob
So there you have it. The answers from Rob are very descriptive, and they provide a lot of insight into his job as well as the shows he works on. You can follow Rob on Twitter and Facebook. It's also well worth checking out his website. Use the buttons below
1. First off, what do you think of Castle this season?? Are you enjoying the new direction of the show??
I think this is the best season yet of Castle, and kudos to Andrew and his team for stepping up to make sure every episode is an entertainment home-run in the face of the question that everyone asked in season 4: 'if/when Castle and Beckett get together and that tension is gone, will anyone still want to tune in?' I just finished the 'Christmas episode' 5.09 and I can say that Andrew is not one to rest on his laurels, he knew the time had come to let the show evolve into its next stage and everything I have seen so far just keeps getting better and better.
2. In a few of the episodes of Castle this season, we've heard varying versions of the amazing score "I Just Want You" that was made famous in the closing scene of last year's finale. Is this a piece of music that we will continue to hear in various forms throughout this season?? How do you go about adapting such a well known piece of music to fit a new scene??
Thank you. Some of the elements of that theme have some history. I had developed a darker haunting repeating piano motif for Beckett in prior seasons, often in conjunction with her mother's case and often underscoring the reasons that were keeping Beckett at a distance from Castle. It seemed fitting to re-invent and bring some of that to the Castle/Beckett love theme, but in a whole new context. There was still an element of caution, of waiting when Castle answered the door in the season 4 finale, and the repeating piano spoke to that moment of anticipation and non-closure until the kiss and the excitement and momentum carry it away.
3. The Castle/Beckett relationship is finally a reality this season. How has this altered the style of the music you are putting together for the various scenes between the duo?? Have you brought back some of the styles that we heard in the first couple of seasons in the series??
We found that some of the concepts in previous seasons aren't working for them anymore. From season one, there was a rivalry and a sparring trait to their underscore. Rob Bowman (one of Castle's executive producers) used to equate it to a bit of a chase between two animals and we almost had a sort of primal 'National Geographic' element going with the African ceramic drum playing to Castle's hijinks. That has all matured now, and although there is a long history and closeness between the two of them over the years and that has some tenderness, there is the other end, the saying that warns 'be careful what you wish for, you might get it.' We find Castle and Beckett bickering like an old married couple as seen in 5.08 'After Hours' and other episodes, that required a new language. It varies slightly from episode to episode, but safe to say there is a lot of fun, some tongue-in-cheek horror and some over-the-top dramatic moments to play with.
4. A lot of Castle fans have asked me to ask you what the chances are of a Castle soundtrack compilation being released. There is a lot of interest out there for one. Are you able to shed any light as to whether that might be in the pipeline??
There has not been any discussion lately about it. I have heard the demand for it, and I'm sure it will be a point of discussion down the road, but I'm afraid I can't say there are any plans in the works at the moment.
5. You're working on freshman show Last Resort this year. How are you finding it when compared to other projects you've been a part of??
Last Resort has been a real trip (unfortunately it won't go beyond the initial 13 episode run). Every week was like scoring a little movie. It's a very cinematic show with some great writing, acting and directing and I've had a blast working on it. Not to mention the chance to try and expand my percussion library in new ways aboard a real submarine!
6. What do you think of Last Resort as a concept?? How do you like the story and characters??
It's a bold concept, and I remember being intrigued since the minute I read the premise. I was already brainstorming ideas after reading the script and am very happy with the way the score turned out.
7. Watching Last Resort, it's immediately clear that the scores are completely different to Castle?? How do you compare and contrast the different styles and demands of the scores of each show??
It feels like speaking two languages sometimes, or at least two dialects. Sometimes you have to remind yourself that you're entering a different world and different musical rules apply. If I'm in Castle-mode and I switch on Last Resort and my musical brain says 'OK what's that crazy submarine Captain up to NOW???' I realize I still have the Castle mentality on the mind, and have to switch gears into a darker world. It's all about emotion however, and the show, the writing and directing takes the lead in guiding me toward the target emotions, I just have to carve my route in that direction.
8. Since you started out, what do you think are the biggest changes that the film and television industry has experienced from your point of view as a composer??
The biggest challenge I have found in TV has always been the time constraints. David Mamet, producer of The Unit said once "Doing a movie or a play is like running a marathon...Doing a television show is like running until you die." TV composers often are working around the clock as the mix approaches and just when you're ready to collapse and recover, the next episode is already around the corner. It takes careful logistics and a solid team to pull this off on more than one show at a time.
9. From your unique perspective, where do you think the film and television industry is heading in the near future. Are there any new innovations that are in their infancy?? In particular, what do you see as the biggest opportunities and obstacles you'll have to face as a composer??
Television is heading into the vortex of the internet and I don't know if anyone knows exactly how it will come out the other end. My job essentially depends on a small piece of the ad revenue that ABC gets for airing commercials during Castle. If those ad budgets are reduced because of internet broadcasts, or a different framework of doing business, I could certainly feel the effects on my end. We shall see, but for now things are still wonderful and I'm able to make a good living doing what I love.
One of the greatest new trends in television music lately has been the use of orchestra. It's coming back into fashion to have real musicians playing on TV scores. Everyone seems to be appreciating the difference in quality that it can bring to a show. I liken it to the difference between drinking freshly squeezed orange juice and orange juice from concentrate. Yes, they are both orange juice, but one is markedly more satisfying than the other.
10. Do you have a particular style of TV show or movie that you favor the most to score for, eg. comedy over drama, light hearted over serious?? Why??
One of the things I love about my job is the variety. Granted I was sad when I heard that Last Resort wasn't going to get picked up for the full 22-episode season, but at the same time I knew that the silver lining was that I had no idea what exciting new project would come my way to take its place. Moving from 'Lie To Me' to 'Chicago Code' to 'Terriers' for example, three completely different shows with completely different musical identities, it prevents me from getting too comfortable in one musical niche which is a challenge I love.
11. How much time does it take to score one TV episode?? What are some of the main factors that influence the time it takes to complete a score??
Every minute of music you hear on average represents between one and three hours of work. There are many factors that influence the time needed to complete. Whether or not a new sound or theme is needed, creativity takes time. If it is an action scene, there are usually a lot more notes in a short amount of time as the tempos are quick, so those take more time. If musicians are called in to re-record the parts and 'sweeten' the score, that also takes time to put the parts on paper and record their takes. Sometimes though, you watch a scene, and your fingers just move and out comes something completely effortless. Truthfully, that is how the Castle Beckett love theme came to be. I think my brain had processed their relationship and character for so long that when it finally happened, the answer was already there and it just came out on the piano in a matter of minutes. When that happens, I'll record it so I don't lose it, but I won't immediately trust it. I'll need to listen back with fresh ears, and after trying out some more things before determining if 'it's the one.' With the Castle Beckett love theme, it was virtually unaltered from my first improvisation. It's a beautiful thing when that happens!
12. Do you ever second guess your scores, or think you could have done something differently on the odd occasion when you look back??
I would go crazy if I let myself think about that too hard. The fact is, you need to react in real time with a fresh brain and place trust in what happens next. Maybe if had rice instead of fries with my lunch I would have written something different that day, but the fact is that is how I reacted at that moment and to that end. You dig into a scene, and you uncover all the nuances you want to highlight and the things you want to speak to that perhaps are not already obvious on the screen but most importantly you find the key target emotion you want the audience to feel when they watch and you zero in on it musically and try to hit the bullseye. If the scene needs to make the audience cry, I have to search for the chords that will make me cry. I will never feel satisfied with a piece until it has the desired effect on myself. Once it passes that test, I can begin to let it go.
13. To finish up, what are the most challenging, and the most rewarding parts of your job??
Managing it all within the framework of a weekly series is the biggest challenge. TV production is a machine that moves very fast. I'd love to spend more time on everything I write, and rewrite it five times and pick the best one, but that's not the reality. The most rewarding part of my job is when I realize I have played a part in a great piece of entertainment that people respond to and enjoy and then let me know that they liked the music!
Thanks for the questions, and thanks for listening!
Rob
So there you have it. The answers from Rob are very descriptive, and they provide a lot of insight into his job as well as the shows he works on. You can follow Rob on Twitter and Facebook. It's also well worth checking out his website. Use the buttons below
qwerty- Escritor - Policia
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Re: Robert Duncan - 5/12/12 para Series Monitor
por qwerty Miér Dic 05, 2012 2:30 am
Hace unas semanas puse una encuesta en SpoilerTV para preguntas de los fans de Castle ABC para el compositor Robert Duncan. Las preguntas llegaron en un tiempo que Rob estaba muy ocupado, por lo tanto, llevó largo período de tiempo, pero valió la pena esperar para escuchar lo que Rob tiene que decir. Así que sin más preámbulos, aquí tenéis preguntas y las respuestas
1. En primer lugar, ¿qué piensas de Castle de esta temporada? ¿Estás disfrutando de la nueva dirección del show?
Creo que esta es la mejor temporada de Castle, y felicitar a Andrew y su equipo por cada paso que dan para hacer seguro cada episodio. Es un tanto marcado a la pregunta que todos preguntaban en la temporada 4: “Si/cuando Castle y Beckett se junten y esta tensión se haya ido, ¿todavía querrá alguien sintonizar la serie?” Acabo de terminar el capítulo de la Navidad 509 y puedo decir que Andrew no es uno que se duerme en los laureles, él sabía que había llegado el momento de evolucionar la serie a su próximo estado y todo lo que he estado viendo hasta ahora se va poniendo mejor y mejor.
2. En algunos de los episodios de esta temporada de Castle, hemos escuchado varias versiones de la fabulosa partitura "I Just Want You", que se hizo famosa en la escena de cierre del final del año pasado. ¿Es esta una pieza de música que vamos a continuar escuchando en distintas formas a lo largo de esta temporada? ¿Cómo haces para adaptar una pieza de música bien conocida a un nuevo escenario?
Gracias. Algunos de los elementos de ese tema tienen algo de historia. Había desarrollado un patrón oscuro de piano para Beckett en temporadas anteriores, a menudo en conjunción con el caso de su madre, y a menudo subrayando las razones que mantenía Beckett una distancia de Castle. Ha parecido conveniente volver a re-inventar y mostrar algo del tema de amor de Castile/Beckett, propósito en un contexto completamente nuevo. Todavía quedaba elemento de la precaución, de la espera cuando Castle abrió la puerta al final de la temporada 4, y el diálogo del piano repetitivo de ese momento de preparación y no-cierre hasta el beso y la excitación y el impulso que llevaba.
3. Finalmente, la relación Castle / Beckett es una realidad en esta temporada. Cómo se ha alterado el estilo de la música que estás preparando para las diversas escenas entre el dúo? ¿Has traído de vuelta algunos de los estilos que hemos escuchado en las dos primeras temporadas en la serie?
Nos pareció que algunos de los conceptos que en temporadas anteriores no funcionaban más para ellos. Desde la primera temporada, hubo una rivalidad y rasgo combatiente a su “underscore” (N.T. Esto es guión bajo del teclado pero no caigo a que se puede referir aquí). Rob Bowman (uno de los productores ejecutivos de Castle) lo equiparaba un poco como una especie de persecución entre dos animales y teníamos una especie de elemento primitivo de “Nacional Geografic” que va con el tambor africano tocando el hijinks Castle. Todo eso ha madurado ahora, y aunque hay una larga historia y cercanía entre dos de ellos en los últimos años y algo de sensibilidad, está el otro extremo, el refrán que advierte "ten cuidado con lo que deseas, puedes conseguirlo.' Encontramos Castle y Beckett discutiendo como un viejo matrimonio como se ve en el 508 'After Hours' y otros episodios, que "requiere un nuevo lenguaje”. Esto varía un poco de un episodio a otro, pero seguro de decir que hay un montón de diversión, algo de horror irónico y algo de momentos dramáticos altísimos para jugar con ellos.
4. Una gran cantidad de seguidores de Castle me han pedido que te pregunte las posibilidades de publicar una recopilación de soundtrack de Castillo. Hay gran cantidad de interés para que haya uno. ¿Es posible que aclares si algo de eso hay para un futuro?
No ha habido ninguna charla acerca de eso. He oído la petición de eso mismo, y estoy seguro de que será un punto de debate, pero me temo que no puedo decir que haya algún plan en el trabajo en este momento.
5. Estás trabajando en el nuevo show Last Resort. ¿Cómo lo estás encontrando cuando se compara con otros proyectos en los que has formado parte?
Last Resort ha sido un viaje real (desafortunadamente no va a ir más allá del plazo inicial de 13 episodios). Cada semana era como conseguir una pequeña película. Es un espectáculo muy cinematográfico con un poco de buena escritura, actuación y dirección, y he tenido mucho trabajo en ella. Por no hablar de la oportunidad de probar y ampliar mi biblioteca de percusión manera en nuevas maneras ¡a bordo de un submarino real!
6. ¿Qué piensas como concepto de Last Resort? ¿Qué te parece la historia y los personajes?
Es un concepto audaz, y recuerdo que me intrigó desde el momento en que leí el fundamento. Estuve aportando ideas después de leer el guión y estoy muy contento con la manera que se consiguió sacar.
7. Viendo Last Resort, está claro que los resultados son completamente diferentes a Castle ¿Cómo puedes comparar y contrastar los diferentes estilos y demandas de los objetivos de cada show?
Parece que a veces hablas dos lenguajes, o por lo menos dos dialectos. En ocasiones hay que recordar que estás entrando en un mundo diferente y aplicar diferentes reglas musicales. Si estoy en el modo-Castle y conecto con Last Resort, mi cerebro musical dice 'OK estos es lo que el Capitan loco del submarino hace AHORA?? Me doy cuenta que todavía tengo la mentalidad de Castle en la cabeza y tengo que cambiar la marcha a un mundo oscuro. Sin embargo, todo es cuestión de emociones, y la serie, la escritura y la dirección toma la delantera en guiarme hacia los objetivos emocionales, sólo tengo que cincelar mi dirección a esa dirección.
8. Desde que empezaste, ¿Cuál crees que ha sido el mayor cambio en la industria de la televisión y cine que ha experimentado desde tu punto de vista como compositor?
El reto más grande que he encontrado en la TV siempre ha sido el tiempo limitado. El productor David Mamet, de The Unit dijo una vez "Hacer una película o una obra de teatro es como correr una maratón ... Hacer un programa de televisión es como correr hasta morirse". A menudo, los compositores de televisión están trabajando día y noche cuando se acerca la mezcla y justo cuando estás a punto de desfallecer y recuperarte, el próximo episodio ya está a la vuelta. Lleva una logística cuidadosa y un equipo sólido para sacar esto adelante para más de un programa a la vez.
9. Desde tu perspectiva única, ¿a dónde crees que se dirige la industria del cine y la televisión se dirige en un futuro cercano?. ¿Hay nuevas innovaciones que desde que te iniciaste? En particular, ¿cuáles son los mayores obstáculos y oportunidades que tendrás que enfrentar como compositor?
La televisión está encabezando el vórtice de Internet y no sé si alguien sabe exactamente cómo va a salir al final. Mi trabajo esencialmente depende de un pequeño trozo de los ingresos por publicidad que la cadena ABC realiza por transmitir anuncios publicitarios durante la emisión de Castle. Si estos ingresos son reducidos a causa de las emisiones de Internet, o en un marco diferente de hacer negocio, verdaderamente podría sentir los efectos en mi final. Vamos a ver, por ahora las cosas son maravillosas y me permite hacer una buena vida haciendo lo que amo.
Una de las grandes nuevas tendencias en la música de televisión es el uso de la orquesta. Está volviendo a ponerse de moda a los músicos reales tocando en la televisión. Todo el mundo parece apreciar la diferencia en la calidad que puede traer a un show. Lo comparo con la diferencia entre el zumo recién exprimido y el zumo de naranja a base de concentrados. Sí, son dos zumos de naranja, uno es notablemente más agradable que el otro.
10. ¿Tienes un estilo particular de programa de TV o película que te favorezca para conseguir el máximo?, por ejemplo. comedia sobre drama, más alegre sobre serio ¿Por qué?
Una de las cosas que me gusta de mi trabajo es la variedad. Por supuesto yo estaba triste cuando me enteré de que Last Resort no tendría el recorrido completo de los 22 episodios de la temporada, pero al mismo tiempo sabía que la linea de esperanza era que no tenía ni idea nuevo proyecto excitante se pondría en mi camino.. Pasar de 'Lie to Me' a 'Chicago Code' a 'Terriers' por ejemplo, tres series completamente diferentes con identidades musicales completamente diferentes, me impide acomodarme en un línea musical, lo cual es un reto que me encanta.
11. ¿Cuánto tiempo se tarda en conseguir un episodio de TV? ¿Cuáles son algunos de los factores principales que influye en el tiempo que se tarda en completarlo?
Cada minuto de música que puedes escuchar, en promedio representa entre una y tres horas de trabajo. Hay muchos que factores influyentes en el tiempo necesario para completar. Ya sea o no por un tema o un sonido nuevo que se necesita, la creatividad lleva tiempo. Si se trata de una escena de acción, normalmente hay muchas más notas en un tiempo corto como los tiempo rápidos, así que lleva más tiempo. Si los músicos son llamados para volver a grabar las partes y 'endulzar' lo conseguido, eso puede llevar tiempo para poner las acciones en el papel y conseguir su registro. A veces, sin embargo, ves una escena, y tus dedos se mueven solos y sale algo completamente sin esfuerzo. A decir verdad, eso es como el tema de amor de Castle y Beckett vino a ser. Creo que mi cerebro procesó su relación y carácter durante tanto tiempo que cuando sucedió finalmente, la respuesta ya estaba allí y que se sacó en el piano en cuestión de minutos. Cuando esto sucede, lo grabo, para no perderlo, pero no quiero creerlo de inmediato. Necesito escucharlo con oídos frescos de nuevo, y probar algunas cosas más efectivas antes de determinar si "es la única." Con el tema de amor Castle Beckett, prácticamente quedó inalterada desde la improvisación. ¡Es hermoso cuando eso sucede!
12. ¿Alguna vez te has cuestionado tus resultados, o piensas que podrías haber hecho algo en alguna ocasión de forma diferente cuando miras hacia atrás?
Me volvería loco si me dejo pensar demasiado en eso. El hecho es, que necesitas reaccionar en tiempo real con un cerebro fresco y lugar real en lo que sucederá a continuación. Tal vez si tuviera arroz en lugar de frituras en mi comida hubiera escrito algo diferente ese día, pero el hecho es que es cómo reaccioné en ese momento y como llegar al final. Puedes profundizar una escena, y descubrir todos los matices que desea resaltar y las cosas que deseas hablar, quizás no es obvio en la pantalla pero es muy importante encontrar la llave emocional que quieres que la audiencia sienta cuando ellos miran y tu diriges todos tus esfuerzos musicales e intentas acertar en la diana. Si la escena tiene que hacer el clamor público, tengo que buscar los acordes que me haga llorar. Nunca me sentiré satisfecho con una pieza hasta conseguir el efecto deseado que tiene sobre mí mismo. Una vez que se pasa esa prueba, puedo comenzar a dejarlo.
13. Para finalizar, ¿cuáles han sido las partes de tu trabajo más difíciles, y las más gratificantes?
Gestionar todo dentro del marco de una serie semanal es el mayor desafío. La producción de televisión es una máquina que se mueve muy rápido. Me encantaría pasar más tiempo en todo lo que escribo, y volver a escribir cinco veces y escoger el mejor, eso no es una realidad objetiva. La parte más gratificante de mi trabajo es cuando me doy cuenta de que he jugado una mano en una gran serie de entretenimiento que la gente responde y disfruta y que ¡les gustó la música!
¡Gracias por las preguntas, y gracias por su atención!
Rob
Así que ahí lo tenéis. Las respuestas de Rob son muy descriptivas, y proporcionan un montón de información sobre su trabajo, así como los shows en los que trabaja. Puedes seguir Rob en Twitter y Facebook. Vale la pena echarle un vistazo a sui su sitio web.
qwerty- Escritor - Policia
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Entrevista a Rober Duncan compositor de "I JUST WANT YOU"....
por luzcastle Miér Dic 05, 2012 9:32 am
Aqui os dejo una entrevista a Robert Duncan, compositor de "I just want you" entre otras canciones, pero que para nosotras es tan significativa porque es la cancion del capitulo 4x23......tambien os dejo el link....
http://www.spoilertv.com/2012/12/interview-castle-last-resort-composer.html
http://www.spoilertv.com/2012/12/interview-castle-last-resort-composer.html
- Spoiler:
- A few weeks back I put up a request on SpoilerTV for questions from the fans for ABC's Castle and Last Resort composer Robert Duncan. The questions came at a really busy time for Rob, hence the long time period, but it was well worth the wait to hear what Rob has to say. So without further ado, here's the questions and the answers
1. First off, what do you think of Castle this season?? Are you enjoying the new direction of the show??
I think this is the best season yet of Castle, and kudos to Andrew and his team for stepping up to make sure every episode is an entertainment home-run in the face of the question that everyone asked in season 4: 'if/when Castle and Beckett get together and that tension is gone, will anyone still want to tune in?' I just finished the 'Christmas episode' 5.09 and I can say that Andrew is not one to rest on his laurels, he knew the time had come to let the show evolve into its next stage and everything I have seen so far just keeps getting better and better.
2. In a few of the episodes of Castle this season, we've heard varying versions of the amazing score "I Just Want You" that was made famous in the closing scene of last year's finale. Is this a piece of music that we will continue to hear in various forms throughout this season?? How do you go about adapting such a well known piece of music to fit a new scene??
Thank you. Some of the elements of that theme have some history. I had developed a darker haunting repeating piano motif for Beckett in prior seasons, often in conjunction with her mother's case and often underscoring the reasons that were keeping Beckett at a distance from Castle. It seemed fitting to re-invent and bring some of that to the Castle/Beckett love theme, but in a whole new context. There was still an element of caution, of waiting when Castle answered the door in the season 4 finale, and the repeating piano spoke to that moment of anticipation and non-closure until the kiss and the excitement and momentum carry it away.
3. The Castle/Beckett relationship is finally a reality this season. How has this altered the style of the music you are putting together for the various scenes between the duo?? Have you brought back some of the styles that we heard in the first couple of seasons in the series??
We found that some of the concepts in previous seasons aren't working for them anymore. From season one, there was a rivalry and a sparring trait to their underscore. Rob Bowman (one of Castle's executive producers) used to equate it to a bit of a chase between two animals and we almost had a sort of primal 'National Geographic' element going with the African ceramic drum playing to Castle's hijinks. That has all matured now, and although there is a long history and closeness between the two of them over the years and that has some tenderness, there is the other end, the saying that warns 'be careful what you wish for, you might get it.' We find Castle and Beckett bickering like an old married couple as seen in 5.08 'After Hours' and other episodes, that required a new language. It varies slightly from episode to episode, but safe to say there is a lot of fun, some tongue-in-cheek horror and some over-the-top dramatic moments to play with.
4. A lot of Castle fans have asked me to ask you what the chances are of a Castle soundtrack compilation being released. There is a lot of interest out there for one. Are you able to shed any light as to whether that might be in the pipeline??
There has not been any discussion lately about it. I have heard the demand for it, and I'm sure it will be a point of discussion down the road, but I'm afraid I can't say there are any plans in the works at the moment.
5. You're working on freshman show Last Resort this year. How are you finding it when compared to other projects you've been a part of??
Last Resort has been a real trip (unfortunately it won't go beyond the initial 13 episode run). Every week was like scoring a little movie. It's a very cinematic show with some great writing, acting and directing and I've had a blast working on it. Not to mention the chance to try and expand my percussion library in new ways aboard a real submarine!
6. What do you think of Last Resort as a concept?? How do you like the story and characters??
It's a bold concept, and I remember being intrigued since the minute I read the premise. I was already brainstorming ideas after reading the script and am very happy with the way the score turned out.
Y aqui la traduccion:
Hace unas semanas puse una solicitud en SpoilerTV para las preguntas de los fans de Castle ABC y Last Resort el compositor Robert Duncan. Las preguntas que se produjo en un tiempo muy ocupado para Rob, por lo tanto, por el período de tiempo largo, pero valió la pena la espera de escuchar lo que Rob tenia que decir. Así que sin más preámbulos, aquí están las preguntas y las respuestas
1. En primer lugar, ¿qué piensa usted de castle en esta temporada? ¿Está disfrutando con la nueva dirección de la serie?
Creo que esta es la mejor temporada de Castle, y felicitaciones a Andrew ya que su equipo ha dado un paso hacia delante para asegurarse de que cada episodio es un entretenimiento de casos para hacernos preguntas por todo el mundo como pidieron en la temporada 4: 'si / cuando Castle y Beckett se reúnen y la tensión se ha ido, ¿alguien todavía quiere que sintonicen? Acabo de terminar el 5x09, el "episodio de Navidad" y puedo decir que Andrew no es de uno que se duerma en los laureles, sabe que es el momento exacto para que el programa evolucione hasta su próxima etapa y todo lo que he visto hasta ahora se pone cada vez mejor y mejor.
2. En algunos de los episodios de Castle esta temporada, hemos escuchado diversos versiones de la partitura increíble "I Just Want You", que se hizo famoso en la escena final del año pasado. ¿Es esta una pieza de música que vamos a continuar con el conocimiento de diversas formas a lo largo de esta temporada? ¿Cómo usted va sobre la adaptación de una pieza conocida de música para adaptarse a un nuevo escenario?
Gracias. Algunos de los elementos de ese tema tiene algo de historia. Había desarrollado un motivo más oscuro inquietante piano para repetir Beckett en temporadas anteriores, a menudo en conjunción con el caso de su madre y, a menudo resaltando las razones que mantenían a Beckett a una distancia del Castle. Parecía apropiado para re-inventar y llevar algo de eso hacia el tema del amor de Castle / Beckett, pero en un contexto completamente nuevo. Todavía había un elemento de cautela, de esperar cuando Castle abrió la puerta de la temporada 4 en el final, y el piano se repitio y habló en ese momento de anticipación y no se cierra hasta que sale el beso y la emoción y el impulso que llevaban.
3. La relación Castle / Beckett es finalmente una realidad en esta temporada. ¿Cómo ha alterado el estilo de la música que usted está preparando para las diversas escenas entre la pareja? ¿Ha traído algunos de los estilos que hemos escuchado en la primera parte de las temporadas en la serie?
Se encontró que algunos de los conceptos en temporadas anteriores no funcionarian entre ellos nunca más. Desde la primera temporada, hubo una rivalidad y un rasgo de combate a su carácter de subrayado. Rob Bowman (uno de los productores ejecutivos del Castle) que utiliza para equiparar un poco la persecución entre dos animales y casi tuvimos una especie de primitivo 'National Geographic' el elemento va con el tambor de cerámica africana jugando a hijinks Castle. Todo eso ha madurado ahora, y aunque hay una larga historia y cercanía entre los dos, ellos en los últimos años han tenido algo de sensibilidad, estando en el otro extremo, el refrán que advierte "ten cuidado con lo que deseas, es posible obtenerlo. ' Encontramos a Castle y Beckett discutiendo como un viejo matrimonio como se ve en 5x08 'After Hours' y otros episodios, que requiere un nuevo idioma. Esto varía ligeramente de un episodio a otro, pero seguro es decir que hay un montón de diversión, un horror lengua en la mejilla y en algunos momentos dramáticos over-the-top para jugar.
4. Una gran cantidad de aficionados de Castle me han pedido que te pregunte lo que las posibilidades son de un soundtrack compilation a Castle de volver a ser libre. Hay una gran cantidad de interés en ello. ¿Eres capaz de arrojar alguna luz sobre si eso podría salir a la luz?
No ha habido ninguna discusión últimamente acerca de ella. He escuchado la demanda de la misma, y estoy seguro de que será un punto de discusión en el camino, pero me temo que no puedo decir que hay planes en marcha en este momento.
5. Estás trabajando en el estudiante de primer año que muestra un Último Recurso este año. ¿Cómo lo estás encontrando en comparación con otros proyectos que ha sido parte de?
Last Resort ha sido un viaje real (por desgracia no va a ir más allá del plazo inicial de episodio 13). Cada semana era como anotar una pequeña película. Es un espectáculo muy cinematográfico con un poco de buena escritura, actuación y dirección, y he tenido una explosión de trabajo en ella. Por no hablar de la posibilidad de probar y ampliar mi biblioteca de percusión de nuevas maneras a bordo de un submarino de verdad!
6. ¿Qué piensa usted de último recurso como un concepto? ¿Qué le parece la historia y los personajes?
Es un concepto audaz, y recuerdo que me intrigó desde el momento en que leí la premisa. Yo ya era una lluvia de ideas después de leer el guión y estoy muy contento con la forma en que la puntuación resultó.
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Re: Robert Duncan - 5/12/12 para Series Monitor
por Beckett_Castle_Alba Miér Dic 05, 2012 9:34 am
Esa entrevista ya esta subida aquí https://forocastle.forosactivos.com/t2897-robert-duncan-5-12-12-para-series-monitor
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Re: Robert Duncan - 5/12/12 para Series Monitor
por luzcastle Miér Dic 05, 2012 11:06 am
No lo sabia, si hay que borrarlo, pues hacerlo, pense que como era una entrevista debia ir aqui, pero no hay problema.....gracias por avisar......
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Re: Robert Duncan - 5/12/12 para Series Monitor
por qwerty Jue Dic 06, 2012 1:23 am
Perdón chicas, no sé que botón le dí que contesté en "El Cast de Castle". Me faltó meterla dentro de "Entrevistas" y no me dí cuenta. El título y todo estaba puesto con el formato del apartado de Entrevistas.
¡¡¡¡¡AVISARME QUE ME QUE EQUIVOQUÉÉÉÉÉ!!!!!
Gracias luzcastle por subirla. Junto los temas y respuestas porque es lo mismo.
Y TOCABA AQUÍ, EN ENTREVISTAS
¡¡¡¡¡AVISARME QUE ME QUE EQUIVOQUÉÉÉÉÉ!!!!!
Gracias luzcastle por subirla. Junto los temas y respuestas porque es lo mismo.
Y TOCABA AQUÍ, EN ENTREVISTAS
qwerty- Escritor - Policia
- Mensajes : 1631
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Localización : En la luna de Valencia
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