SAM: Storytelling Across Media! Storytelling Sound and Music Panel Recap!

SAM Storytelling Across Media – Sound and Music Panel

“Create, Create, Create all the time, there’s no excuse not to” – George Streicher

Sound snd music can define any kind of media work, It’s a long and involved process and I was lucky to attend a panel at the SAM: Storytelling Across Media panel with composer George Streicher (Music for Halloween Night), composer James Burkholder (Shelby Oaks), co-composer Matthew Feder (Asteroid), songwriter/co-creator/executive producer Michelle Lewis (Kindergarten: The Musical), and composer Youssef Guezoum (Power Rangers, Deep State, Monsters, The Board, Promise).

“I love the bad Radiohead and we were able to have a version of a ‘Radiohead’ song about a kid spilling his apple juice and make it contextual for kids. We don’t use a lot of irony or metaphors, without writing down to kids” said Michelle Lewis. “That is so important for us. It tells that story.”

Telling stories within the world of music and sound is very important and it cannot only enhance the storytelling process but actually tell the story in and of itself.

We we focus on our characters specifically, the music didn’t have to be redundant and be sci-fi even though we were doing a Sci-fi series, mentioned Matthew, we want a complete picture no matter what media we’re working on.

In Power Rangers, the sound is a big mix of rock and orchestra. Youssef Guezoum worked hard to keep that feeling and diversify that sound to evoke a feeling. “I usually come back to my (cultural) background to create something special for the audience!” Said Youssef.

Using different sounds and instruments is a key piece to any musical component. “I use my dog in the background of all my work,” Michelle Lewis said laughing.

“It’s one of the most fun parts of this whole process is finding unique instruments!” added Matthew Feder. “A video game I scored, I used an Aztec death whistle. It’s a vacant and other-worldly sound. It really fit that world that was being created.”

In horror, music can create fear and tension. “There’s a track I was working on called The Seance, by the end of the track, when the apparition appears, it builds and builds and builds and then shrieks, forcing people to close the game.” Said George Streicher.

“In those silent moments, you can feel totally alone.” Added Jame Burkholder, they removed all the crickets from one scene in Shelby Oaks which created that odd uneasy silence.

“You never want to be too on the nose and tell people what to feel, you want the audience to feel what’s missing.” Exclaimed Michelle Lewis, “To create fear you can create scary noises, but the surprising things are so much more effective.”

For those who are interested in composing and breaking in, the panel had a lot of advice. “Listen to as much music as you can and try to connect what you hear to what you’re feeling.” Mentioned Matthew Feder.

“Just start, don’t wait. Pull clips off YouTube and learn.” Jumped in Jame Burkholder.

“If you want to go into film and television, meet the directors in your peer group. It’s the smartest thing you can do!” Added Michelle Lewis.