![]() ![]() I learned a lot of different styles and shaped my own along the way. That's how it was every week and it was different music every week. I had a friend who was an orchestrator help me and it turned out great. On the seventh episode that I did, I went in, and was told, "This episode is a Western, let's get 150 people and do an orchestra." That was the first time I scored for an orchestra. It could have been a new style of music every week. Northern Exposure was a fantastic school for scoring for me, because after the first week, we never used the same music twice. Every week you have to get an idea, finish it, and then it goes on the air. #MELODY ASSISTANT REWIRE TV#What's great about TV though is that every week you have to move on. Up until that point I had been a very slow and very critical writer. It was extreme joy and extreme panic when I got that job. ![]() I never expected them to ask me to score every episode, I had only written for this one little feature my friend had directed. What I wrote was pretty much the main title that aired on the show. It was a script for Northern Exposure, first episode. Fifteen minutes after I said yes, someone came with a script. The film never went any place, but one of the few people that had seen it called me up a year and a half later and said, "Well, we tried everybody in town, but do you want to take shot at this?" It was called "North of the Future." I said, "Sure." During that year and a half I had really tried to get scoring gigs but did not get much response. I was not young when I started by any means! (laughs) He asked me to do this film. I had been a bass player, a producer, and had my own studio. Basically, a friend of mine was doing his own films. You've had a very long and impressive career doing sound and TV for film. #MELODY ASSISTANT REWIRE SOFTWARE#David has been using DrumCore and Discrete Drums products for a while now, so we called him up to ask how Sonoma Wire Works' software has helped his composing. The keys to his success? Hard work, extreme talent, and the right tools. Beverly Hills 90210, Deadwood, Arrested Development, and Northern Exposure are just a few of the timeless themes David's written that almost anyone could hum off the top of their heads. It is the goal of every TV composer to write one theme that is held in the public's memory and outlives the show it was written for, but for David Schwartz, just about every theme he writes manages to achieve this. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |