Let’s see…
and you have probably gotten used to hearing it after playing it pretty often.
Actually it’s not as if we play the music a lot. For those who don’t know, we don’t get sent the music beforehand or anything… we see it for the first time when we arrive at the job. That’s why one of the most important skills for a studio musician is to be a good sightreader. Most of the time what happens is, we’ll take out a cue, play it through so the composer and director can hear how it sounds with a “live orchestra” (often the composer will make a temporary synth version before the orchestra comes so the director can have an early idea of what it will eventually sound like with a real orchestra), then some small changes might be made, maybe it’s played through one or two more times, and then recording of it starts. Some cues can take a while to record if a lot of changes need to be made or there are discussions in the booth about how to tweak it… but once changes have been decided, it’s usually only recorded once or twice (unless mistakes are made or more changes are needed) before going on to the next one. Every once in a while they’ll turn on the red light and record the very first time reading it through (though it’s rare, and usually just on very simple cues, or cues that are very similar to others we’ve just played).
Would you desribe the music as spacey? Robotic? Cute (because Wall.E is cute)?
Yes. In that, depending on the scene, it fits. We did some action/peril cues and they sounded just like they should (loud brass, fast string parts), yet other cues where the scenes were gentle or cute sounded as they should.
I can’t believe that the music is still recording, and it will still be recording during 2008! That’s
pretty late, at least I think, but it must be standard procedure for Pixar and I’m sure they will finish it in time.
Actually it’s quite early. I wrote a post on this topic elsewhere here on Pixar Planet (do a search of my other posts to find it), but music is one of the last things recorded on a normal (non-animation) movie. Often it will be within a month of the movie’s release date – and sometimes it will be VERY last minute (there was still scoring going on for the original “Pirates” movie the weekend before the premiere!) Animation (whether it be Pixar or Disney) tends to score early for a couple of reasons (music being more important in story, harder to justify the cost of doing last-second changes in animation vs live-action, etc) so compared to a normal live-action movie, this is early. Trust me, it’ll not only get finished in time, it’ll be in the can a lot sooner than if it was a live-action picture.
My instrument? Well, I guess you could say I play one o’ them musical-thingies. Sorry, I’ll keep that anonymous for now. By the way, you’ve probably noticed that musicians almost never get their names up on a film. The reason is a long boring one (basically producers said "oh, X number of musicians means Y more feet of film on each print for their names to be on the credits, times Z prints that have to be made… that’s too expensive… do you want a raise, or your names on the film?) – which is ridiculous nowdays when you see credits for van driver, caterer (my favorite… as if the guy who made the pasta for the crew contributed to the film more than the people whose music you hear on it), babies born during production – and even sometimes the name of the clickmeister (the guy who runs the click track for the musicians) – but not the musicians themselves. But we always hope. “Cars” had the orchestra listed, but “Ratatouille” didn’t, and it’s a rare film that lists musicians names on the actual film. However more common now is to list the orchestra on the CD soundtrack pamphlets, so for all you upstanding people out there that buy the CD soundtracks properly, you’ll see our names in tiny, tiny sized fonts.
Regarding the “click track” mentioned above… for those who don’t know what a click-track is, maybe I should explain. When recording a movie score, every musician puts on headsets and hears a “click-track” – clicks (like the sound of a metronome) through the headset. Unlike in a symphony orchestra (where the musicians are supposed to follow the conductor on the podium), in a studio setting, you follow the click, NOT the conductor. In a studio session, the conductor is there mostly to pass along directions, changes, give warnings about tempi changes, etc – but if the conductor is not conducting in time with the click, you ignore the conductor and listen to the click. Before the musicians arrive for the session, everything has been worked out on a computer, so even in cues that change tempi (speed) often, it’s all programmed in, and we follow the clicks we hear through our headphones. Occasionally (very rare) certain cues will be done “wild” (no click), mostly for expressive reasons (a really emotional cue). There was one cue in Ratatouille where the conductor really wanted to conduct it wild (he heard the clicks as a guide, but they turned off the clicks for us, and we followed the conductor)… but it’s only the rare cue that won’t have a click track to it. And yes, they had click-tracks even in the old days, way before computers. Don’t know how they rigged it up, but even in the 40s and such, click track was used. It’s very important that the music match the picture right where it should be, so it’s all worked out before the musicians arrive.
What is the orchestration set-up?
Pretty standard, though a little on the large size. There were two harps instead of one… some large string sections… no “unusual” instruments so far, though note that Tommy likes to use a lot of pre-records on his scores (various sounds and stuff he does himself) to mix with the orchestra, so any “strange” sounds would probably be done as a pre-record. Generally they turn off any prerecords in the headsets when we play (as it can sometimes get too confusing to hear too much stuff) and usually just give us click only, unless we need to hear the pre-records to match rhythm or intonation, or for some other special reason.