Editing Film score (section)

==Elements of a film score==
Most films have between 45 and 120 minutes of music. However, some films have very little or no music; others may feature a score that plays almost continuously throughout.

===Temp tracks===
In some instances, film composers have been asked by the director to imitate a specific composer or style present in the temp track.<ref>George Burt, The art of film music, Northeastern University Press</ref> On other occasions, directors have become so attached to the temp score that they decide to use it and reject the original score written by the film composer. One of the most famous cases is [[Stanley Kubrick]]'s ''[[2001: A Space Odyssey (film)|2001: A Space Odyssey]]'', where Kubrick opted for existing recordings of classical works, including pieces by composer [[György Ligeti]] rather than the score by [[Alex North]],<ref>{{cite web|url=http://www.mfiles.co.uk/reviews/alex-norths-2001-a-space-odyssey.htm|title=2001 A Space Odyssey – Original soundtrack by Alex North, commissioned but unused by Stanley Kubrick, conducted by Jerry Goldsmith|first=Jim|last=Paterson}}</ref> although Kubrick had also hired [[Frank Cordell]] to do a score. Other examples include ''[[Torn Curtain]]'' (Bernard Herrmann),<ref>{{cite web|url=http://www.soundtrack.net/albums/database/?id=841|title=Torn Curtain Soundtrack (1966)}}</ref> ''[[Troy (film)|Troy]]'' (Gabriel Yared),<ref>{{cite web|url=http://www.soundtrack.net/features/article/?id=120|title=Gabriel Yared's Troy – Article}}</ref> ''[[Pirates of the Caribbean: The Curse of the Black Pearl]]'' (Alan Silvestri),<ref>{{cite web|url=http://www.filmtracks.com/titles/pirates_caribbean.html|title=Filmtracks: Pirates of the Caribbean: The Curse of the Black Pearl (Hans Zimmer/Klaus Badelt)}}</ref> Peter Jackson's ''[[King Kong (2005 film)|King Kong]]'' (Howard Shore),<ref>{{cite web|url=http://musiconfilm.net/community/read.php?2,161|title=Music on Film:: News:: Article in Variety about James Newton Howard's King Kong score<!-- Bot generated title -->|access-date=2008-07-30|archive-url=https://web.archive.org/web/20071212094823/http://musiconfilm.net/community/read.php?2,161|archive-date=2007-12-12|url-status=dead|df=dmy-all}}</ref> [[Air Force One (film)|Air Force One]] (Randy Newman)<ref>{{cite web|url=https://www.filmtracks.com/titles/air_force_one.html|title=Air Force One (Jerry Goldsmith/Joel McNeely)}}</ref> and ''[[The Bourne Identity (2002 film)|The Bourne Identity]]'' (Carter Burwell).<ref>{{cite web|url=http://www.moviemusicuk.us/bournecd.htm|title=The Bourne Identity|access-date=2008-07-22|archive-url=https://web.archive.org/web/20080919142100/http://www.moviemusicuk.us/bournecd.htm|archive-date=2008-09-19|url-status=dead|df=dmy-all}}</ref>

===Structure===
Films often have different themes for important characters, events, ideas or objects, an idea often associated with [[Richard Wagner|Wagner]]'s use of [[leitmotif]].<ref>{{cite dictionary |chapter-url=http://www.merriam-webster.com/dictionary/leitmotif |entry=Leitmotif |title=Merriam-Webster Dictionary |date=August 3, 2023 |edition=online }}</ref> These may be played in different variations depending on the situation they represent, scattered amongst incidental music. The themes for specific characters or locations are known as a motif where the rest of the track is usually centered around the particular motif and the track develops in line with the motif.

This common technique may often pass unnoticed by casual moviegoers, but has become well known among genre enthusiasts. One prominent example is [[John Williams]]' score for the ''Star Wars'' saga, and the numerous themes in [[Star Wars music|''Star Wars'' music]] associated with individual characters such as [[Darth Vader]], [[Luke Skywalker]], and [[Princess Leia]].<ref>{{cite web|url=http://www.trell.org/wagner/starwars.html|title=The Star Wars series and Wagner's Ring: Structural, thematic and musical connections |first=Kristian |last=Evensen |year=2008 |website=Richard Wagner Web Site |url-status=dead |archive-url=https://web.archive.org/web/20100726141647/http://www.trell.org/wagner/starwars.html|archive-date=2010-07-26|df=dmy-all}}</ref> Similarly, the [[Music of The Lord of the Rings film series|music of the ''Lord of the Rings'' film series]] featured recurring themes for many main characters and places. Another notable example is [[Jerry Goldsmith]]'s [[Klingon]] theme from ''[[Star Trek: The Motion Picture]]'' (1979), which later composers in the [[Star Trek (film series)|''Star Trek'' film series]] quoted in their Klingon motifs, and which was included on numerous occasions as a theme for [[Worf]], the franchise's most prominent Klingon character.<ref>{{Cite news|url=http://www.patheos.com/blogs/filmchat/2013/05/music-for-klingons-part-one-jerry-goldsmith.html|title=Music for Klingons, part one: Jerry Goldsmith|last=FilmChat|date=May 7, 2013|work=FilmChat|access-date=2017-12-13|language=en-US}}</ref> [[Michael Giacchino]] employed character themes in the soundtrack for the 2009 animated film ''[[Up (2009 film)|Up]]'', for which he received the Academy Award for Best Score. His orchestral soundtrack for the [[television series]] ''[[Lost (2004 TV series)|Lost]]'' also depended heavily on character and situation-specific themes.

===Source music===
"[[Source music]]" (or a "source cue") comes from an on screen source that can actually be seen or that can be inferred (in academic [[film theory]] such music is called "[[diegesis|diegetic]]" music, as it emanates from the "[[diegesis]]" or "story world"). An example of "source music" is the use of the [[Frankie Valli]] song "Can't Take My Eyes Off You" in [[Michael Cimino]]'s ''[[The Deer Hunter]]''. [[Alfred Hitchcock]]'s 1963 thriller ''[[The Birds (film)|The Birds]]'' is an example of a Hollywood film with no [[Diegesis#In film|non-diegetic]] music whatsoever. [[Dogme 95]] is a filmmaking movement, started in Denmark in 1995, with a manifesto that prohibits any use of non-diegetic music in its films.