Disney commentator shares some musical notes
By Jake Friedman
*Originally published in the June, 2006 issue of the aNYmator newsletter.
The recently released Lady and the Tramp DVD sports many highlights: a breakdown of how storyboards work through the eyes of artists, directors and producers; a focus on the Disney hometown that inspired the setting of the story; a tip o’ the hat to Joe Grant, unaccredited developer of the original story…
But one surprising feature was a short tribute to the music of the film – and not just the songs by Peggy Lee, as noteworthy as they are (the sultry “He’s a Tramp” is as sexy as a toon tune can get). For a film that doesn’t musically overwhelm its audience, it’s easy to allow the enchanting musical score to fall to the wayside.
(c) Disney
New York University’s director of film music, Professor Ron Sadoff, makes sure that doesn’t happen. Appearing on the DVD (as are fellow NYU icons John Canemaker and John Culhane), Sadoff discusses the significance of composer Oliver Wallace’s original music for a few brief minutes – almost too brief. With a whetted appetite, I recently I had the opportunity to ask Prof. Sadoff a few more questions about musical scoring and animation.
JF: What makes a film score great?
RS: A great score can only be possible if it interacts dynamically with the film. The score must align with the essence of the film, which may utilize a combination of stylistic, kinetic and psychological elements. The composers who can then use the necessary conventions without depending on clichés, and instill their own compelling style without smothering the picture – well, this is the blueprint for a great score.