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To Temp or Not to Temp? A Very Important Question...

Temp tracks have long been a popular technique used by directors and editors, and thanks to the increasing availability of music online they are becoming more common. When directors are putting together a movie and still searching for a composer, they will often resort to borrowing a track or an existing piece of music in order to get a preliminary idea of how the whole thing will look with music. Then, when the director hires a film composer, they send him/her the material with the temp track, which is intended to give the composer an idea of the kind of music and mood that the director is looking for. This all sounds great, so why then, does composer Danny Elfman refer to temp tracks as “The bane of my existence”? In a previous edition of BMIM, composer Cliff Martinez said temp music is both evil and useful, in much the same way a film editor can be his best friend or worst enemy. After his own music was used as the temp track, a director even asked Martinez to 'copy' his own composition to retain the feel that the director had grown to love, but that situation begs the question: can you legally plagiarise yourself? This panel features some of Holland’s best and most music-loving film editors and directors examining whether there really is an increase in the use of temporary scores, and whether there is a growing attitude among producers that film scores shouldn’t really be too present and noticeable.

With:

Peter Alderliesten (Film Editor 'Bankier van Verzet', 'Publieke Werken', NL)

 

Peter has been working as a film editor for the last 25 years, specializing in feature films and trailers. He has worked on both commercial and arthouse productions, many of which were very succesful. Peter is co-founder and vice-president of the Netherlands association of Cinema Editors (NCE), guest teacher at the Dutch Film Academy, coach at Trailerpark and Rutger Hauer Film Factory and member of the European Film Academy and the Dutch Academy For Film. From 2008-2011 he was a member of the advisory board for feature films at the Dutch Film Fund. In 2003 he was awarded best editor for Phileine Zegt Sorry at the Dutch Film Festival, in 2007 he was again nominated for Alles is Liefde (Love is All), in 2016 for Publieke Werken (A Noble Intention) and in 2018 for Bankier van het Verzet (The Resistance Banker). Peter lives and works in Amsterdam.

Job ter Burg (Film Editor 'Zwartboek', 'Brimstone', 'Elle', NL)

 

Job ter Burg, ACE/NCE (1972, The Netherlands) is an award-winning film editor, best known for his work on internationally acclaimed films for directors like Paul Verhoeven (Elle, Black Book), Martin Koolhoven (Brimstone) and Alex van Warmerdam (Borgman). He also works as a freelance script consultant, is co-founder and president of the Netherlands association of Cinema Editors, and has taught masterclasses on film editing around the globe, from Serbia to New York.


Jeroen Houben (Film Director & Writer, 'Matchmaker', 'Gips', NL)

 

The son of a television and camera salesman, Jeroen’s fascination with film began at an early age. He shot his first films at 8 years old and never looked back. A graduate in both design and film, his work is characterised by distinctive art direction, offbeat humour and understated comic performance. Music plays an important role in Jeroen’s films and he often serves as his own composer. Jeroen wrote and directed several internationally acclaimed short films including ‘Sorry’ (2013), ‘Best Wishes’ (2014) and ‘Home Suite Home' (2015). His film ‘Gips’ (2015) premiered at the prestigious Palm Springs Film Festival. 2018 saw the release of Jeroen's feature debut ‘De Matchmaker’ which he co-wrote and directed. The film drew over 100,000 visitors to Dutch cinemas, receiving the Golden Film status, and had its international premiere at the Dublin International Film Festival.

Fons Merkies (Composer, 'Mannenharten 2', 'Dorsvloer vol Confetti', NL)

   


Ella van der Woude (Songwriter & Composer, Instinct by Halina Reijn, Paradise Drifters and Take Me Somewhere Nice, NL)

 

Though Ella van der Woude has been composing film scores for most of her artistic life, she is better known publicly in the field of pop music. She was the primary songwriter in now-defunct Pixies-indebted indie rock outfit Houses, performed as a touring member of Amber Arcades and recorded an experimental pop album with Massive Attack’s Stew Jackson. As a classically trained musician with a degree in composition, Van der Woude’s more recent cinema-related projects include Take Me Somewhere Nice and Instinct, the directorial debut of Dutch actress Halina Reijn.

Moderator:

Mark Gordon (Founder Score Draw Music, UK)

 

Mark Gordon runs Score Draw Music; a multi-award winning composition company working in film, television, advertising and animation. The last 12 months have seen the company win the Royal Television Society award for best music for their work with Dolly Parton on the pre-school Nick Jr series ‘Lily’s Driftwood Bay’. The company also contributed a co-write to the 2018 Oscar-winning film ‘The Shape Of Water’, and more recently has had music used in shows including Netflix's 'The Chilling Adventures of Sabrina'. Alongside this the company’s current slate of work includes music and songs for an 80-part series for PBS America, the music for a 52-part series for Disney, a recent commission for a Playmobil animated series, feature documentary score work for BBC and Channel 4, and ongoing music for a range of global brands including a longstanding partnership with Adidas for whom the company supply bespoke music. Mark has also programmed and spoken on many music and image panels and discussions, including at SXSW, Primavera Pro, Paris Sync Summit and The Great Escape.

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