A Forum Interview with SHAWN CLEMENT - Post Your Questions

[Shawn Clement]

I have noticed one of the prominent tools used in television scoring by some composers is musical and/or rhythmic loops. How do you feel using this effects originality in a score, most importantly when the loops where not written by the composer using them?

Have you ever had to face composing for an hour-long show in a very short timeframe? If so, how did you deal with the kind of pressure and stress that can come from a contract like that?

When initially starting a new project, what is your process in trying to find an original sound for it?

What is your favorite cue that you have written?

What is your favorite color?

What is your favorite cue that you haven't written?

Would you be willing to share something thing that you have learned concerning film scoring that you did not learn in college?

What are your goals as a film composer? Any dream projects that you would love to be involved in?

What was the most difficult moment of your career, and if they are separate, the most rewarding?

What are some of the challenges about scoring a game as opposed to a film or television show?

And finally, the most important question: What kind of socks are you wearing?

Man, I think I ask too many questions...

James

Loops are fine to use. It all depends on what you do with them. If you use your creativity to do something different, I don't have a problem with it. I have a problem with using a loop all by itself. It's an enhancement to your cue, not a main element.

I kick and I scream. You always get short time. You look at the time you have and regiment it out. You just make it happen and you work fast. Focus and deliver. It's always stressful no matter how much you've done it.

I think we answered this one earlier.

I don't have one. I've written thousands of pieces of music and they're all my children.

I'm color blind.

I don't know how to answer that. How about the Star Wars theme? I wish I'd written that.

everything.

Everyone's goals are to do bigger and better films.

The most rewarding has been the realization that I can actually do this. Everyone wants to be a composer, but not everyone can pull it off. the most frustrating part is getting the job and doing the politics. It's not like other jobs where if you do good they reward you. This does not work the way other businesses work.

We kind of answered that already. Please check the thread.

White ones.

[Garritan]

WALK ON THE WILD SIDE: FILM COMPOSER SHAWN CLEMENT
SCORES "OPEN SEASON" - Available SEPT 19


(Hollywood,CA) Composer Shawn Clement provides the score to the much-anticipated release for Ubisoft's "Open Season," based on Sony Pictures Animation's first feature-length CG animated film. Ubisoft releases the game on all available platforms Sept. 19, ten days prior to the film's Sept. 29 release.


"I'd never been asked to provide a lot of country music," says Clement, who nevertheless created some 250 tracks for the hillbilly-infused score. The composer played all the guitar parts including dobro and lap steel. Clement also got his banjo chops together, playing both traditional 5-string and a specially created 6-string banjo. "Gold Tone made that for me," says Clement. "It looks like a Fender Telecaster with a big drum head in the center."


Each character is associated with a particular sound. Boog, the bear lured into leaving the comforts of home, is represented by bass guitar. Harmonica, banjo and melodica bring Elliot, the fast-talking mule deer, to life. Full orchestra adds excitement to the game's action sequences.


Known for his scores to hit games "The Sims 2" and "Batman: Rise of Sin Tzu," Clement follows "Open Season" with a more traditional, synth-based score to Buena Vista Games' "Kim Possible: What's the Switch?" This fifth issue in the Kim Possible series based on the hit animated TV show comes to PlayStation 2 on Nov. 11.
As the go-to composer for the reality TV market before anyone knew how successful it would be, Clement is credited with establishing the definitive dramatic musical style of the reality genre. In recognition, ASCAP presented Clement with a film and television award for Most Performed Underscore in 2000.


A multifaceted composer, Shawn's film credits include 2004: A Light Knight's Odyssey (with John Travolta, Samuel Jackson, Christian Slater, Michael York, Sarah Michelle Gellar, Anne Archer and James Earl Jones), We Married Margo (Audience Favorite Award winner at the HBO/U.S. Comedy & Arts Festival), and Last Chance (Best Original Drama winner at World Fest). He has also scored such television series as Buffy the Vampire Slayer, Queer Eye for the Straight Girl, and I'm Still Alive.
For interviews and photos, contact Costa Communications, 323-650-3588

[Leaf]

I had forgot about this section of the forum, glad i was clicking around. Thanks for giving the interview and thanks to you, Shawn Clements, for sharing your thoughts and insight. Hope you have continued great success and looking forward to next tme.

Best Regards
David