Han Otten - How to deal with acoustic instruments and orchestras in film music?
We watch another scene from the feature film Marionette and Han reveals his approach to this scene which is a ridiculous fast tempo for orchestral music. How do you get this done with an orchestra? And should you, being a film composer, play an instrument yourself?
More with Han Otten
Han Otten is a film composer, also working for contemporary dance and other media.
In this magazine we talk to Han Otten, Jorrit Kleijnen and Vidjay Beerenpoot about their works and experiences in the film industry.
In this chapter Han and Maurits discuss composing for different media and art forms such as film and modern dance: are there any differences? And when becomes music sound design or the other way around?
We watch a scene from the feature film Marionette and Han tells us about the use of microtonality in film music and how this affects the perception of the audience. Maurits Overdulve and Han discuss their collaboration for Marionette.
Another scene from the film Marionette tells us how to stretch violin players to their limits. Han and Maurits also discuss the use of temp track by directors and how to deal with this phenomenon being a film composer.
We watch a scene from the feature film Marionette and Han tells us about the use of microtonality in film music and how this affects the perception of the audience. Maurits Overdulve and Han discuss their collaboration for Marionette.
Alexa Rodrigues and Simon de Koning question Han about the peculiarities of being a film composer, having your own individual sound, the needed social skills, the collaboration with a director, the use of temp track, and much, much more
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