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Music / Musik » alt.fan.frank-zappa » off-topic: Eric Zappa, head of Glurp Records, music supervisor for new film, "Fall to Grace&quo
| off-topic: Eric Zappa, head of Glurp Records, music supervisor for new film, "Fall to Grace&quo [message #283218] |
Mi, 14 Juni 2006 20:02 |
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XL Music
Music: Austin film's music falls into place with local bands
By Joe Gross
Thursday, June 15, 2006
http://www.austin360.com/music/content/music/stories/xl/2006 /06/15music.html
Ever since "Born to be Wild" bellowed out of theater speakers as Peter
Fonda and Dennis Hopper howled down the highway, pop music has become
an indelible part of the American movie experience, with songs
sometimes all but replacing traditional scores.
By the 1990s, soundtracks had become a critical part of a movie's
marketing. Soundtracks to "Trainspotting" and "Rushmore" have become
cult touchstones.
It's the job of a movie's music director to put together soundtrack
collections, and to many hard-core music fans, it seems like the
greatest job in the world. It's like making a mix tape for an audience
of millions.
One former Austinite who landed that job is Eric Zappa, head of Glurp
Records and music supervisor for the locally produced feature "Fall to
Grace," a melodrama set on Austin's east side that opens Friday. After
trying to break into music supervision for years, Zappa met "Grace"
writer and director Mari Marchbanks about two years ago and signed on.
He loaded the "Grace" soundtrack with Austin bands: Centro-matic,
Shearwater, the Deathray Davies, What Made Milwaukee Famous,
Cruiserweight, Palaxy Tracks, Moonlight Towers and more. (There are no
plans to release the soundtrack on CD, Zappa says.)
Zappa takes a little of the myth out of the gig. But not much.
"A music supervisor works with the director and the editor, taking
songs from pre-existing music and deciding what should go where,"
Zappa says from his newish headquarters in Seattle. The team looks at
each scene carefully. "You decide, 'We could use a song of this
flavor,' or, 'This seems like a moment for the original score,' " he
says.
Once the creative team makes an initial list, it's the music
supervisor's job to acquire the tracks.
"It's the kind of role that's half creative and half administrative,"
Zappa says. "You work with labels and bands to find the right songs to
fit each particular moment, but there's also the financial aspect."
Moviemakers can't just put in any song they want for free. If a
supervisor wants to use a song, he or she has to obtain a license from
both the publisher and the owner of the master recording. "A little
indie film can't put 'Stairway to Heaven' over the opening credits,"
Zappa says. (Led Zeppelin was famously absent from Richard Linklater's
1993 movie-titled-after-a-Zeppelin-classic "Dazed and Confused,"
because of the band's noncooperation.)
"That's where some of the creativity comes in," Zappa says. "Working
with a small budget, you have to find stuff that's obtainable.
Fortunately, 'Fall to Grace' is really well-suited for the sort of
intimacy that comes with really good indie rock. It's not a movie that
needs Aerosmith singing a Diane Warren-penned mega-ballad." ("I Don't
Want to Miss a Thing," from the remarkably nonintimate "Armageddon,"
was just such a mega-ballad.)
His favorite musical moment? "The opening and closing," Zappa says
without hesitation. "For both scenes, we used Centro-matic's song
'Flashes and Cables.' It has a triumphant energy to it and the lyrics
are vague, with lines about scoundrels and rogues, which was perfect
for this movie. It was amazing to find in that one song a beginning
and ending."
Master rights for "Flashes" had to be obtained from Centro-matic's
record label, the Austin-based Misra Records. Misra head Phil Waldorf
said a "step" contract was used. "A 'step' agreement allows movies
with a small budget and little up-front money to get music because it
allows the film to use the song for festivals, which assumes they are
not making a profit," Waldorf says.
The money kicks in incrementally based on each step in the film's life
cycle, Waldorf says. "You get one fee when the movie is picked up for
distribution, another when the box office gross is a certain amount,
and so on," he says.
Another key member of the "Fall to Grace" music team is Shearwater
songwriter Jonathan Meiburg, who scored the movie with former
Shearwater bandmate Travis Weller.
"I had never done a soundtrack before, and I was a little naive about
the process," Meiburg says. "I have far more respect for people who do
film scoring. Each music cue had to begin and end in 20 seconds and
have some kind of movement. You're also trying to make music that
people don't notice so much that it takes you out of the scene.
"But I knew what I didn't like," Meiburg says. "I didn't want to do
stuff that too obviously told you how you were supposed to feel: 'This
scene is happy, this one is sad, this one is triumphant.' That's too
much icing on the cake." He and Weller recorded at Weller's house,
creating about 10 minutes (in tiny bits) of vibraphone, piano, violin,
electric guitar, Wurlitzer organ and more coming together for an
enigmatic score.
"It was a bit like turning in a homework assignment," Meiburg says. "I
kind of wonder how we did."
- - -
http://img.coxnewsweb.com/B/09/01/19/image_3819019.jpg
Centro-matic has songs 'Flashes and Cables' and 'Curb your Turbulence'
in the movie. 'Flashes' opens and closes the film.
http://img.coxnewsweb.com/B/03/03/19/image_3819033.jpg
Kira Pozehl and Gabriel Luna star in 'Fall to Grace.' Luna grew up in
Austin. Pozehl attended the University of Texas.
http://img.coxnewsweb.com/B/04/03/19/image_3819034.jpg
Shearwater got songs 'The Kind' and 'A Hush' into the movie. Both were
on the band's 2003 album 'Winged Life.'
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