Emmy Nominees: Composers Roundtable
When composers are struggling over a piece, sometimes all it takes is a simple directive or another set of eyes – or rather ears – to help them decipher it. For the composers of “The Marvelous Mrs. Maisel” Thomas Miser and Curtis Mooreeverything became clear when Amy Sherman-Palladino told them that the Harry Belafonte song they were to write was to be a wedding toast, not a pop hit. The duo come from the theater world, where often complete strangers help them unlock parts.
“One of the things that we have the ability to do that’s so different from working in television and film is that…we can present it in front of an audience at a preview,” said Mizer at Gold Derby during our Meet the Experts: Composers. panel discussion with other Emmy nominees Brian Tyler (“1883”), Siddharta Khosla (“Only the murders in the building”), Christopher Willis (“Schmigadon!”) and Theodore Shapiro (” severance pay “) (watch the exclusive video interview above). “And a lot of times if something is really difficult or really hard, it’s usually because we’re going at it from the wrong angle, like we’re writing the wrong song or writing the wrong time for a song. There’s something that is wrong but the minute you put it in front of an audience it will tell you right away if something is working or not working I like to sit in an audience theater and look at the audience not the spectacle [and] they tell you very, very clearly if they are not interested or if they are interested. I think those are the moments, for me, that are really enlightening. Click on each name above to watch that person’s one-on-one interview.
SEE Over 180 interviews with Emmy nominees
Shapiro agrees that feedback from another person – anyone – is important because you can’t see the piece through the eyes of an audience until you review your work with someone. other. “Suddenly you’re not looking at it through your own eyes, you’re looking at it through that other person’s eyes and you can see what it is,” he says. “It can be totally horrifying because you think you’ve written this great piece and then you realize it’s all wrong. Or you think, ‘Oh man, I’ve got that score nailed’ and then you go to a screening in preview and the minute the movie starts you’re like, ‘That’s not what I want it to be.’ Or ‘That cue really doesn’t hold its own.’ Or ‘That’s way too much hard.’ Sometimes there’s no way to know until you can see it through someone else’s eyes.
And to be clear, the reverse is also true. “It’s not always thinking you’re awesome and being disappointed,” he adds. “Sometimes you feel like you just threw something away and there’s nothing there, and then you realize when you see it with an audience, ‘Oh, actually, it’s perfectly simple and it’s good.'”
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