1. SCOTT STAMBLER Film Credits
One Unique Thing
At Chapman University I designed an advanced course in Film Music, which is
unique to any other film school. I taught the emotions of music as they relate to
filmmaking, specifically temp-music editing. Sound-Design courses are readily
available, but there are no specialty Temp-Music courses in the top 100 film-
schools.’Temp-music’ is temporary music used in studio previews with recruited
audiences. Temp music libraries contain thousands of CD soundtracks; The
music is used for screenings with the director, editor, or other in-house private
screenings. Regarding copyright infringement: Preview Screenings are cost-free
to the public, therefore any music can be used. Cost-prohibitive music should
always be approved by the studio before usage. Exceptions, in my experience,
were: Forrest Gump, Tropic Thunder, and This Is It. (Dreamworks approved $3
million for music on Tropic Thunder.) The temp-music editor is hired six weeks
before the composer writes any music. Temp music editors select, and edit, a
complete temp score on a schedule that’s steadily shrinking every year. With the
advent of digital everything, which had sped many traditional processes, the
studios reduced the time and money from Post-Production budgets. The Post-
Producing lamb that was ripe for shearing was the cashmere sweater left in the
dryer.
The Temp-music editor must adapt to a constant flow of picture changes, a
barrage of good, bad, or conflicting criticism. They must be willing to change
creative directions—On a dime. There were, perhaps, ten highly accomplished
temp-Specialists who were well compensated, and we remained in high-demand.
My course at Chapman simulated the studio by giving class members situational
roles: Director, Studio Exec, Film Editor, Temp-Editor, and Capricious character,
Sony Scoring Stage Original Music
Mobile
(310)-939-3201
Los Angeles CA
Email
nome@me.com
stambler@chapman.edu
2. whose unpredictable opinions added more studio realism than my students
would ever know.
How to select music by its emotional content: What pictorial circumstances
should music play, or not? Why is a film driven by songs or traditionally
composed underscore? It’s all in the politics: How to collaborate on music with
disagreeable directors, or prestigious directors with genuine vision. The syllabus
devoted two sessions to political survival, and remaining true to one’s original
instincts. Should music be simple, or full of complex orchestral arrangements?
Should the music contain ethnic instruments based on the film’s location? The
answer begins with practical editing experience. The course requires extensive
ProTools lab work, with turnovers from previous films.
A ‘turnover’ is an Avid output of digital picture files prepped to precise technical
specs. The turnover includes QuickTime Picture, with separate Dialogue, Music,
and Sound FX. Editors spend, according to my calculations, one hundred and
eleven thousand hours in darkened rooms and darker film stages. If a student
requires a tan, music editing may not be for them. Most Sound and Editing
majors are technically proficient, while other students can learn with Lynda.
ProTools Certification is good, and helpful. Better still, is having good pictorial
instincts, with an ear for musical emotion—That is a gift.
Temp-music editors are agile and creative; they work in an economy of motion
without making mistakes. They are specialists; their music choices elevate a film
and create a roadmap for the final music. With a 90 percentile Preview Score, the
studio usually approves higher music budgets. The preview process is repeated
many more times, occasionally with less than nine days between mixes. Elevated
budgets also elevate the stakes, which fuel Ouroboros: That is, the snake that
eats itself.
The inexperienced director, who’s already feeling insecure, now feels pressured
from the narrowing schedule, while continued demands from the studio for
additional photography—and asking why their notes haven’t been addressed.
Actors have questions about scheduling their next film, which relates to the
additional photography, Sound designers seek answers about metal door
knockers and car chases, the composer wants to schedule a music meeting,
visual-effects want more money, and our director blows up at the intern because
there was no gluten-free desert with the lunch order.
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3. Under these constraints the director left early with a DVD of the film preview.
Playing favorite scenes repeatedly, the director loved the pizzicato celli section
that accentuated the transitions—and the music in the divorce sequence had just
the right amount of empathy. This common malaise is called ‘temp love’. Hearing
about the director’s ‘temp love’ the music editor’s already-sufficient ego
compelled the purchase of a new Porsche. On the other hand the composer was
handcuffed into over-borrowing from the temp score.
(The previous two paragraphs were a dramatization based on true events. Also, I
don’t own a Porsche.)
A good reason for “temp love” is when a temp score manifests as a seamless
work of art in itself. To the academic reader unfamiliar with my work, I’ve
enclosed enough written testimonials that it’s nearly embarrassing. From the first
time I watched Jerry Goldsmith conduct “Alien” I felt an immediate affinity with
film music—I was a young pup at the time, but I knew my future was in film
music. I’ve worked in nearly every phase of Post Production; including sound
mixing, sound editing, foley, music recording, music editing, and music
supervision. I associate produced a long running TV show, and I Composed
“Payback Straight-Up” for Oscar winner, Brian Helgeland. I’m capable of teaching
all aspects of Post Production, but film music is my first love. If I can instruct
students on the selection, editing, and mixing of temp-music—and if these
students have good musical instincts, they will possess an extremely viable tool
to use for the rest of their film careers.
ONE UNIQUE CHANGE
Bob Bassett is the Dean at Dodge College Of Film and Media Arts at Chapman
University. The school had screened “The Last Stand” directed by Jee-Woon
Kim. That film was my last stand before semi-retirement. A week later, Bob called
and asked if I would supervise the music for Chapman Filmed Entertainment’s
“The Barber”. I hired the composer, edited the temp music, selected songs, made
deals with the writers and publishers, mixed the music, and supervised the final
mix. I was given a co-producing credit for my efforts. Bob then offered me an
adjunct position at this seventh, highest-ranked film school in the country. Of
course I accepted the position with gratitude, and enthusiasm—Although
‘enthusiasm,’ and a career in film, hadn’t prepared me to teach graduate
students. I was competent at communicating, editing and composition; I felt like I
could learn to teach. After two years at Chapman, my syllabus endured endless
revisions. With experience comes knowledge: Teaching requires a constant state
of learning, experimenting, revision, and vibrancy.
Armed with my ‘enthusiasm,’ and a superbly written syllabus, I began my new
career in pedagogy. Self-mocking repartee is one of my strengths. That first
month I felt discouraged—my grad students deserved a better-educated
instructor. I suppressed a closeted fear that I might never improve—but things
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4. change. There was a moment which clearly transformed my method. In my
autodidactic style, I turned to self-guided research—specifically, the emotions of
music, and especially film music. I was trying to discover a way to discuss music
in a language everyone could understand. I googled a lot. Eventually I found a
scholarly friend: Siu-Lan Tan Ph.D. She wrote the book, “Psychology of Music:
From Sound to Significance.” Dr. Tan and I had a number of conversations about
music and emotions. We continued to exchange ideas via email. Time passed,
and like a simplified illustration of Occam's razor, all roads led to the heart of a
very simple idea—A Catalogue of Film Scores. I selected composers who wrote
in wide-ranged provocative emotions. I used the OED to filter, group, and label.
My little perpetual endeavor isn’t academic, or an invention worthy of hundreds,
but it delights me, and perhaps a select group of Film Music Students.
CHAPMAN UNIVERSITY
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Film Music Catalogued By Emotion
5.
ROBERT BASSETT
DEAN
LAWRENCE AND KRISTINA DODGE COLLEGE OF FILM AND MEDIA ARTS
October 21, 2016
Recommendation for Scott Stambler
I am happy to recommend Scott Stambler for a teaching position based on my
careful observation of his work teaching and mentoring our advanced film
students at Chapman University and on my direct experience working with him in
his position of Head of Music for Chapman Filmed Entertainment, the feature film
company we created at Chapman.
In every respect, Scott’s professional experience and background is extraordinary.
The many letters of reference he has from some of the most respected directors in
the business are eloquent testimony to how much people at all levels enjoy
working with Scott, and the tremendous contributions his passion, talent,
experience and expertise have made to some of the major motion pictures of our
time, from When Harry Met Sally to Forrest Gump to The Bucket List.
What Scott learned in 33 years in the business was the foundation for his success
as a teacher. He created and taught new courses, specifically Music in Film and
Write Music by Ear, that, to the best of my knowledge, do not exist at other major
film schools. To these he brought an open-minded approach that helped students
work in an environment conducive to creativity. Not only did he teach them to use
ProTools, the primary software used in music editing, but also students praised his
significant feedback on their projects and his up-to-date materials and exercises.
Not surprisingly, knowing Scott, he coupled teaching with his own continued
learning, developing a new way of cataloging his own music library—by emotion.
The result was, as he writes, that, “It was only through my teaching that I
discovered this new approach to working.” This, I submit, is endemic to the best
teachers—that they learn as the teach and that they bring this new knowledge into
new ways of working that benefit what they do and what their students take away
from the classroom.
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6. I also had the opportunity to observe Scott as a teacher and mentor through his
work with Chapman Filmed Entertainment (CFE). The model for this company,
which produces films in the million-dollar space, is based on having alumni head
our key creative departments, being mentored by faculty, as appropriate. In
addition, students work as production assistants and in other internship positions,
depending on scheduling. Our goal is to further the careers of our accomplished
alumni and to offer on-set feature film experience to students in a way that is not
otherwise available. In this context, Scott’s contributions were unstinting. He was
a fully committed, hands-on partner in working with our music, editorial and
sound design teams, providing invaluable guidance to the alumni and students
involved, and taking our film to a higher level through an effective score that truly
enhanced the story.
In all, I find that Scott is an inspiring teacher, whose many years working on
creative teams of all kinds has translated easily into his success in guiding students
in and out of the classroom. Not only did he work with students in his own classes,
but also he provided guidance to many of our advanced film projects, where the
students were also the beneficiaries of his significant industry experience. He also
interacted with our beginning students in Introduction to Visual Storytelling, our
first project-based course that aims to teach students the basics of film language.
Students in that class praised his approachability, his honest criticism and his
willingness to do “everything in his power to help” them improve their work,
along with the open, positive environment he created in the classroom. Scott’s
willingness and ability to teach across all levels and in a variety of situations
further demonstrate his flexibility, his commitment to teaching and his overall
effectiveness.
Given his skills, I wish I could keep Scott at Chapman. Though we have been
fortunate to employ him as an adjunct, we do not have a full-time position
available. In you are considering Scott for a teaching position, I would be happy to
answer any additional questions you might have.
Best,
Bob Bassett
TWYLA REED MARTIN DEAN’S CHAIR IN FILM AND MEDIA ARTS
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bassett@chapman.edu (714) 997-6715
10. LINKEDEN REFERENCES
Contact any references where I have added emails, or phone numbers.
Michelle Tesoro Film Editor LUCK
michelle.tesoro@gmail.com
Scott is a very talented music editor, composer and prose writer. He really cares about
giving the picture editor/director exactly what they want, and was a wonderful
collaborator. I had such fun working with him on LUCK. The music editing on the series
finale from his team of music editors, which Scott was leading, was some of the best
work I've come across. Scott made some very average songs into music cues that gave
sequences momentum, drive and depth. Scott and I created a music cue for the final race
sequence, using my cello which I had not played in years. I was so inspired by the
experience with Scott that I started playing again, this time with an emphasis on learning
music composition. I would not have done this without Scott's encouragement and
support.
Paul Haslinger Composer, Musician, Producer.
paul@haslinger.com
Scott is the only music editor I've ever had the pleasure of working with, who was able to
help Walter Murch expand his vocabulary. On top of his considerable verbal talents, he is
one of the best in his field, appreciating the beauty of the detail as well as the importance
of the big picture. (scott added a link to that vocabulary word)
Patrick Esposito Post Production Producer “Tropic Thunder”
patrickesposito@mac.com
Everything I know about music editing I learned while working with Scott: multi-tracked
scores, or needle drop cues, simply because I know him, I know more about music. He is
a tremendous talent with great patience, making him a great confidant, team member and
teacher. Whether he was the single music editor on a film or leading a team of editors
thru temp dubs. Patrick supervised Scott at “Tropic Thunder”
Rob Sephton Sound Design @ Sony Pictures
robboto@sbcglobal.net
I have known Scott for 20+ years and have worked on Films together over that time.
Scott is to me the Professional's professional. Prepared and always ready for any situation
that can and does arise in the field of making motion picture's. I have always enjoyed
working with Scott and know when he is on the show it will be done right! Rob worked
with Scott at Motion Picture Editors Guild.
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11. LINKEDEN REFERENCES
Tammy Glover Assistant Producer @ Castle Rock
I'm pleased to write a recommendation for Scott. We've worked together on multiple
projects and while his unparalleled experience and taste characteristically motivate
people to hire him, it's his day-to-day wit and tirelessness that make him an invaluable
member of any team. Scott hates passive verbs, but I can honestly say that he's made the
world of movie music richer for all of us. Tammy was Scott's client.
Jill Breitzman Post Production Exec @ Disney
Scott was great to work with. Skilled and professional with helpful contacts in the
industry. He is able to keep it light on stage when needed and deliver top quality work. I
always look forward to working with Scott. Jill worked with Scott at Motion Picture
Editors Guild.
ADDITIONAL REFERENCES
Barbara Doyle My Supervisor @ Chapman/Dodge
(615) 460-5735 barbara.doyle@belmont.edu
Marty Cohen Former President of Post Production Paramount/Dreamworks
(818) 219-6132 Motts9@me.com
Bobby Colomby Former Head of CBS Records
(310) 475-6816 bcolomby@verizon.net
Bobby and I worked on When Harry Met Sally
Michael Mann (310) 207-7378 justine@fpi.us.com
Bob Bassett (714) 997-6715 bassett@chapman.edu
Dodge College Of Film And Media Arts @ Chapman University
EXPLORE
Editors Guild Magazine on Temp-music Test Screening 51 Films
5.1 Temp Mixing JJ Abrams (my nephew Robby works for JJ)
The Village Idiot —Short Fiction Winner By Scott Stambler
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