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SAE Magazine 13-2

epresentations of the Lost he composer finds himself ceable recurring events he variation of theme place- . ture aracter and event themes for your film score, but o pop into your mind when do I represent the whole usic theme? Well this can ible variation of the film’s e previous example of the ng the Signs score we can s variation as a musical ng the film itself or rather main question should now film represent, what mood main idea and even what getting from this movie? eed to look into the story, he film’s defined mood, as ersation with the director hich is one of the keys for iliar! over the idea, emotional of the story, characters Index Andi Koglot Author: Andi Koglot is a freelance composer for visual and non-visual media residing in Lju- bljana, Slovenia. As a music composer he has worked on short comedies, romance, drama and documentary films as well as work for a small theatre group. Last year Andi finished his Bachelor of Arts Degree on the subject of theme use in con- temporary film scoring. Some of his work can be found here: https://soundcloud.com/andikoglotmusic n Infobox and events, which is the essence of its musical contribution. However themes tend to have an interesting unwritten concept outside the film’s borders – its popularity! Can you recognise these well thought themes from Star Wars, The Godfather, Breakfast at Tiffany’s or Psycho? Some themes even make it into pop charts like James Horner’s work on Titanic with the overly used yet memorable “My Heart Will Go On”, which is basically his motif constructed into a pop-song form. Themes can break their way into the mainstream music charts and potentially help the film in its promotion, so be aware of this as maybe you’ll even land in the music charts just from your work in the demanding yet very rewarding world of film scoring! n

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