Pre-Production, 'The Keep' Music Research

As I am planning to create some original music for 'The Keep' mini-series idea to include in my portfolio, I have doesn't some research into different soundtracks.

My intentions are to give the mini-series a retro/ nostalgic feel, much like the Netflix series 'Stranger Things'. As such, I have decided to look into the style of music found within Stranger Things as well as several soundtracks from films of the 1980s.

These included:

Stranger Things (2016) by Kyle Dixon/ Michael Stein
Titles Music:

The Stranger Things soundtrack goes for a minimalist aproach. It is hardly ever loud, allowing for a more subtle build of emotions throughout the series. Synthsisers are used heavily. The sound produced heavily resembles a modern take on what the 80s would sound like, meaning it doesn't quite sound the same and is almost cliche. However, it is effective in building tension and works well with emotional scenes as well as with the visual design, suiting the Stephen King- inspired visuals with I would hope to emulate in my own project.


The Keep (1983) by Tangerine Dream
Opening Theme/ the Journey:

The soundtrack of the failed film adaptation of The Keep was composed by Tangerine Dream and was one of the few praised aspects of the film itself. The instrumentation is mostly synthesiser based with use of the classic 80s drum sound accidentally created by Phil Collins when working on Peter Gabriel's third solo album. Throughout the soundtrack, a vocoder can be heard, almost giving an alien/ demonic presence within the music. The music itself induces dread with very simple repetitive sounds that slowly build to create tension.

This opening track was actually arranged by Brian Eno (known for his work with David Bowie in the late 70s) and David Byrne (known for being frontman of Talking Heads). The drums fade in quietly, already building up tension, then the synthesisers continually barrage the listener with three distinct notes, almost as if in panic. I feel that I could incorporate something like this within my own soundtrack examples.


Halloween III: Season Of The Witch (1982) by John Carpenter/ Alan Howarth
Opening Credits:

The 'Black Sheep' of the Halloween films also retains that notion when it comes to its soundtrack. Gone are the creeping pianos which are replaced by droning synthesisers. This is another minimalist soundtrack which doesn't intrude on the film and helps in order to heighten the horror.

The Terminator (1984) by Brad Fiedel
Title Music:

The original version of the Terminator theme, again, mostly consists of synthesisers. The main melody itself is haunting and has an almost tragic sound to it, considering the events that take place within the film. There is a subtle drumbeat that loops throughout the theme and is repeated throughout the soundtrack. This drumbeat would be altered slightly for the second film which uses a more orchestral variation of the theme. The never stopping drumbeat could be interpreted as a representation of the machine (i.e. the Terminator) which will never stop until it has successfully carried out its objective.

Escape From New York (1982) by John Carpenter
Main Title:

Though this isn't from the horror genre, the style of music sounds very similar. Synthesisers are very prominent again and the instrumentation itself sounds simple and minimalist again. However, I do feel the main title theme in particular seems a bit rushed in the production. Some of the instruments, particularly the bass and drums, don't seem to match in sequence properly, causing some uneven listening.


Something I could have guessed easily going into this research was that synthesisers would be very prominent. I feel that using both minimalist and building approaches for different types of scenes would work well for my own soundtrack and would allow a broader examples for me to use in my own portfolio. The visual design will also heavily play into how the music will sound as well, the two aspects will play off each other.

The Keep- Episode 1 Summary:

The Keep: Episode 1- Awakening

While I re-familiarise myself with the original source material, I have taken notes on the basic plot. This will serve as an outline as to what would happen in each episode and help me to decide where would make a good ending for each episode.

I have so far managed to complete notes on episode one. I feel that this episode will help to build up mystery and start asking asking questions that shall be set-up for further episodes to answer. This episode will also introduce all of the main cast and start they're journey's to where they will all eventually meet.

Here is my rundown of episode 1:

1941, German High Command receive a distress call from a Captain Klaus Woermann, who is stationed at a Keep in the Transylvanian alps, which reads ‘Request Immediate Relocation. Something Is Murdering My Men.’ SS Commander Erich Kaempffer is sent to investigate.

A week earlier, Woermann and his men arrive in the Transylvanian Alps, Romania, where they take refuge in a strange Keep. They are warned by a family keeping maintenance of the Keep not to stay but they do not heed their warning. Woermann notices the Keep walls are littered with strange crosses.

The first night, in the cellar, a guard on watch decides to try and deface one of the crosses in hopes to find riches behind. He and another manage to remove the cross to find a small passageway behind and one of them enters. After he starts to contort violently after feeling very cold, he is pulled back out by his comrade who finds his head has been ripped off. Something has escaped through the passageway.

Far away, a stranger awakes suddenly and gets ready to set sail to Romania and The Keep.

Several nights go by and there is a ghastly murder per night despite Woermann’s efforts to catch the elusive murderer. He then sends out message asking High Command for help after witnessing one of the murders himself.

Kaempffer arrives with his SS troops and starts to interrogate the local villagers around the Keep. Woermann knows that it wasn’t one of the villagers. Whatever the killer was, it was able to kill and escape without being seen.

Elsewhere in Romania, Magda and her father Theodore, a Jewish historian, are called upon and sent to the Keeping in a desperate attempt to help determine what is killing the German soldiers.

The mysterious stranger nears the Keep by sea.

After reading through the source material, I feel that the miniseries will only consist of four, fourth minute episodes as I feel five episodes will stretch the material too far. I feel this is appropriate so that the episodes can maintain a steady pace without feeling to rushed or drawn out.

I will update on the future episodes which I will then add as part of the pre-production portfolio.

High Concept Pre-Production Idea Presentation: The Keep

For the first part of third year I have chosen the option to work alone on a high concept pre-production plan. I have chosen this in order to allow creative freedom without having to worry about budget.

My Idea involves a four/ five part mini-series adaptation of the F Paul Wilson novel, 'The Keep'.

Here is the initial presentation I used to pitch my idea, showing some of my intentions for this project:

Here is also a list of other areas that I hope to include in the final portfolio:

Year 3 Dissertation Presentation 1

Dissertation Structures


Introduction:
Sets up and prepares the reader:
-Introduce and explain the main focus and aim/question
-Clarify areas of research.
(eg the focus and aim of each chapter)
-A brief overview of the discussion order of your dissertation chapter by chapter.

Beginning, Middle and End:
Chapter 1:
-definitions of terms used in question
-basic theory
-background and/or historical ideas or contexts

Chapter 2:
-utilises and builds on information form chapter 1
-application of theories, current discussions/context
-any information and ideas that need to be discussed before the question can be fully answered or the aim fully achieved in the final chapter.

Chapter 3:
-where the question is fully answered or aim fully realised.

Conclusion:
Ends on very last, final response on the discussion.
-Reiterate the aim of your dissertation, reminding the reader of any questions you were intending to answer.
-Highlight your key findings chapter by chapter and how hey relate to each other in light of your aims.
-Discuss your response to your findings and any answers/ conclusions drawn.

Intro: 800 words
Chapter 1: 2,150 words
Chapter 2: 2,150 words
Chapter 3: 2,150 words
Each chapter will have 12 paragraphs of approx 180 words, each act as a progressive point that needs to be researched and:
a. listed in a logical order
b. that you have identified the information/evidence you will be analysing for each step of your dissertation (with source referenced.


To prepare for 1st tutorial:
Work on your plan for-
-Your topic, ints intellectual context and your question approaches to it?
-Create and review your list of research material?
-The key authors and a sentence of the way you wish you use their ideas?
-The moving image sequences you wish to relate to this research?
-You method(s) of analysis?
-the structure and organisation of your discussion.

To prepare for 2nd tutorial(a period of 3 weeks)
-Week 1- read your research material
-Week 2- read your research material and write up a draft for chapter 1 (2,150 words- approx. 500 words a day (less than a page) x 7 days)
-Week 3- finish chapter 1 (which will help you to plan for chapter 2)

To prepare for 3rd tutorial (3 week period)
-Week 1- research (and write notes for) chapter 2
-Week 2- write up a draft of chapter 2 (2,150 words)

To prepare for draft hand-in (27th Nov)
-make amendments to draft chapter 2/ research chapter 3
-research and write a draft for chapter 3 (2,150 words) [and a skeleton conclusion if you wish]

The dissertation daft should consist of a full typed version (it might not be edited or there may be unresolved problems.)


Title Page
This should contain
-the title of your dissertation
-your name
-course
-month and year of submission
-first language

Year 3 - Presentation 1 - Brief

Research is key.
Research needs to be done, whatever the project
-Subject matter
-Form

Workflow & Time Management
-Your final year is all about you being an independent learner.
-You will have tutorial support throughout.
-You will have peer support throughout.
-How you spend the majority of the rest of your time will be set by you, and YOU only.
-Draw up a time-table. (ical, google, pen and paper!) – you MUST plan your time effectively.
-Equal time on Dissertation and Pre-Production.
-Both Dissertation and Pre-Production require you to work at an advanced level – last minute

cramming doesn’t work on these units.

The Goal:

-Time will go very quickly.

-What do you want from your final year?

-A degree?

-A good classification in your degree

Term 1:

Dissertations & Pre-production

Dissertations (30 Credits)

-Using your Dissertation Proposal as your starting point.
-8,000 words
-3 tutorials prior to draft hand-in
-Draft Hand-in: Nov 27th

-1 Draft feedback tutorial

-Final submission: Jan 25th 2019

Year 3 Creative Project(s):

-As well as choosing your dissertation subject – the rest of the 3rd year is all about YOU selecting the CREATIVE skillset YOU want to pursue.

-The 3rd year is geared towards you focusing your skills and interests.
-Though there will be some requirement to multi-task, ultimately you will be collaborating and specialising on one skillset (Writing, or producing, or directing, or camera, or editing, or….) and in one main output (Drama, or doc, or news, or entertainment etc etc)
-What do YOU want to do now AND in the FUTURE????

Pre-Production (30 Credits)

-Individual or small group based

-Two distinct choices

-Largely sef directed

-Tutorial and seminar support throughout.

-Submission of project: Dec 11th

-The aim of this unit is to produce a detailed Pre-Production “package” for an original production.
-There are two distinct choices as to how you fulfil this brief:
-Concept Pre-Production Package
-Major Project Pre-production Package

Professional High Concept Pre-Production choice:

-Large scale idea that is aimed at competing with what is on television

-A 'package' that communicates your idea to a potential broadcast commissioner- but you will not be actually making the production

-Hypothetical and allowing you to think big and not be constricted by a student sized budget.

-The concept can be anything you want it to be. Drama series, documentary, current affairs, entertainment etc etc.

The package can be made of a variety of elements- Pitch, script, casting, production design.

Major production project- Pre Production:
-Unlike the Professional Pre-production option, this choice is about developing a pre-production plan/package for a project, which you will then take into production in your Major Project unit after Christmas.
-The same applies in that you will need to produce a VERY detailed plan for the production, including all the required production elements (Pitch, script, budget, schedule, casting, locations, trailer, etc).
-The difference is – you will actually take this plan into production* as your major project.
-This MIGHT seem an easier choice – BUT it is NOT. As we will expect this to be a very, VERY, VERY detailed plan!!

-Depending on your interests and focus – this choice will tend to be collaborative* by nature.
-So therefore you will be collaborating with a small group – who will form the production team.
-Max Length 20mins
-Multi-skilling maybe an option, but you need to discuss with me.

-Multi-skilled Filmmaker approach - IMPORTANT
-Anyone wishing to take on a Major project as multi-skilled filmmaker (ie writer/director/editor) – will NOT be allowed to without a producer on board, or they MUST demonstrate that their project is achievable by a single filmmaker in the form it will take. (IE a project that has minimal locations, production design aspects etc)

Screenplay Major Project Option:

-If your interest is in screenwriting – you have an opportunity through the Major Project Pre-production choice and Major Project unit to write a long form piece of work (A series or feature length script).
-In the pre-production unit you will develop a detailed plan for the project, including treatment, synopsis, research etc.
-In the major project unit – you would then write the screenplay (through various drafts).

External Collaboration:

-Both the Pre-Production and Major project units are open to external collaboration (ie People who are not currently studying on this course) in the following areas ONLY:
-CAST / PRESENTERS / ACTORS
-MUSIC
-PRODUCTION / COSTUME DESIGN
-SPECIAL FX
-All of the above are not “taught” on the course, hence why it is encouraged.
-ALL other roles and jobs MUST be be filled by your fellow classmates or students in year 1 or 2, or recent graduates.