the case, the composer can enter the world of the production,
receive a creative stimulus from it and, on this basis, can create a
musical interpretation which is appropriate to each scene.
Therefore, the director has to guide him to work on the production
with enthusiasm.
On this basis the director must check that the composer’s
conception accurately reflects the requirements of the production,
and that it agrees with his own intent regarding the musical
interpretation, and he has to reach agreement on every problem,
such as the subject, the nature of the melody, the form of the music
and how it should be used. In this way he will exactly carry out his
plan for directing the film.
To listen to and assess the music is extremely important and is a
responsible task for the director. If he neglects the assessment he
may encounter difficulties at the dubbing stage.
Once he has listened to the music, the director must clearly
explain to the composer the good and bad points in the relation
between it and the film as a whole, particularly the relation between
individual scenes and the music, and must collaborate with him to
seek means of correcting any faults, thereby bringing the musical
score closer to the needs of each scene. However excellent the
music, it is useless for the cinema if it is not appropriate to each
scene. It is impossible to correct or replace scenes just because the
music is good. In the cinema, the music must be appropriate to each
scene. Then the screen representation will be effective and the