The beauty (and terror) of creative projects is that things don’t always go to plan. Funding falls through, actors get sick, and you have to pivot your vision to something new. Then, you have the extreme version of that, which Director/DP/Editor Chris Murphy experienced during the production of YETI’s short film Kekoa.
The value of music in a film isn’t always talked about, or expressed explicitly, so why would they pay for better music if to them it just serves as a filler or background to the imagery? We know it’s so much more than that, so we thought we’d take a shot at explaining why quality music matters for your films.
It used to be that music discovery happened between people. Friends would recommend new songs, DJs would play new bands, music writers would review new albums. And then, if something interested us enough, we’d go buy it. We’d listen to it. Over and over again. And if we fell in love with it, we’d recommend it to others. That’s how it went for a long time. Music discovery was this intentional, symbiotic relationship between music lovers and the music they loved.
It may have started as a film school assignment, but the short film AWAY quickly became a film school in itself for Zach Zombek (a.k.a. Convolv). Over the course of its three-year production, the demands of the film forced Zach to master everything from cinematography to visual effects to scoring. “That’s one reason we kept the team so small,” Zach told us. “It forced me to learn these things instead of having someone else do them for me.”