Leitmotif
The Leitmotif can be a powerful tool for a films score. It is music that adds a sense of continuity and development to characters, places and ideas (GCSE Bitesize - Film music leitmotif definition). An incentive for me to use a composer in my film is because of the way they can be so effective in developing and aiding a story. There aren't many better examples of the use of leitmotif's than by Howard Shore in 'The Lord of the Rings' trilogy (2001-2003). The video below very helpfully helps realise the strength of this.
From Youtube channel 'Nerdwriter1' making commentaries about Howard Shore's score.
The possible argument against using the leitmotif composer technique would be the short length of my film in comparison to for example 'The Lord of the Rings' trilogy.
The film soundtrack is an important choice for me to make regarding my film. Whether I use a score to help further the story which is a proven effective technique. Or if I choose to dispense with music altogether having faith in my ability to create effective sound design and the ability of my actors.
Here is another video which looks at examples of how scores can be effective:
From 'Now you see it' a 'Patreon' backed channel on Youtube.
Film Composers to explore in relation to the style I wish to achieve from my film:
Johann Johannsson:
Icelandic composer who has worked on three films directed by Denis Villeneuve Prisoners (2013), Sicario (2015) and Arrival (2016). His scores have the ability to send chills down your spine adding another layer to the suspense of the films. Contemporary music using classical instruments and elements of electronic music, he can be described as minimalist and this is something I would like to look for in a score.
Bernard Herrmann:
His work on 'Psycho' (1960) is some of the most recognisable and most chilling suspenseful music in film as well as Hitchcock's films 'Vertigo' (1958), 'The man who knew too much' (1956) and 'North by NorthWest' (1959). Also his work on 'Taxi Driver' (1976) which has an underlying theme that runs throughout the film giving you a tense feeling throughout.
His work on the Hitchcock films is memorable and right there and integral to how each film works. If I were to go down a route of this nature I would have to consider how each piece of music would develop the story and help further it emotionally. The style of score Hermann put together on Hitchcock's films in particular suited the suspense thriller nature, whether my film is to go down this route is to be determined by how the next couple drafts develop.
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For my film my immediate thought is the realism could be a case for keeping the music minimal or even excluding music altogether, like in this video below about Martin Scorsese:
From a Video by Tony Zhou creator of the channel 'Every frame a painting'.
'No country for old men' (2007) uses very little music throughout, but still manages to create an effective terrifying villain played by Javier Bardem. I one particular scene he strangles a man to death. There is no music playing just the sounds of the poor man struggling and struggling and struggling as he is slowly killed by the merciless killer.
The scene demonstrates who the character is and his lack of empathy towards taking someones life. What stands out to me is the small amount of dialogue the key moment for me is the end where he takes his deep breaths whilst still lying under the other mans body. This is in stark contrast to some hollywood films which would have given the character a quip to say. This scene purposefully does the opposite to unsettle the viewer and further demonstrate this characters potential for evil.
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