Film Music | Anne Dudley (Art Of Noise, Academy Award Best Film Score 1997) | STUDIO INTERVIEW

Academy winner composer Anne Dudley (The Full Monty 1997) guest of DOGMA85 original series "Studio Interviews". Discover Anne work on https://www.annedudley.co.uk

Anne Jennifer Dudley (née Beckingham; born 7 May 1956) is a British composer, keyboardist, conductor and pop musician. She was the first BBC Concert Orchestra's Composer in Association in 2001.She has worked in the classical and pop genres, as a film composer, and was one of the core members of the synth-pop band Art of Noise. In 1998, Dudley won an Oscar for Best Original Musical or Comedy Score for The Full Monty. In addition to over twenty other film scores, in 2012 she served as music producer for the film version of Les Misérables, also acting as arranger and composing some new additional music.

0:00 - Intro
0:25 - How I first made a living with music
1:48 - Meeting Trevor Horn and start studio work
2:39 - The first hit with ABC “Lexicon Of Love”
3:05 - First experimentations with samplers
4:11 - How “Art of noise” was created
5:19 - How Art Of Noise worked in the studio.
6:18 - Releasing “Daft” with Moments In Love, Close To The Edit and Beatbox.
6:39 - The “pressure” of making a Hit record.
7:14 - Touring with Art Of noise.
7:34 - Art Of Noise never supposed to be a “Live Band”.
8:46 - More difficult to be innovative with sampling.
9:21 - Hit record with Tom Jones cover of Kiss.
10:26 - First approach with film music through Art Of Noise.
10:52 - First film scored by Art Of Noise “Disorderlies”.
11:12 - Starting to work on TV commercials and exploring styles.
12:05 - Learning how to express something in a short period of time.
12:29 - “Crazy” creative teams in the 80s.
13:06 - Be a “translator” for music.
13:55 - Dealing with feedback on music from directors.
14:39 - The problem of “Temp Music”.
15:26 - Looking for a break into Film Industry.
15:58 - The magic of music and pictures.
17:02 - First success of working on “The Crying Game”.
17:27 - The Full Monty and the Oscar
18:05 - Competing against Titanic
18:58 - I don’t like boundaries.
19:16 - Every Film is unique and the soundtrack needs to be as well
19:42 - People will always want to do new things.
20:33 - A “refreshing” project.
21:15 - Discovering I had perfect pitch.
21:26 - Natural affinity with music.
22:47 - Very lucky in music education.
23:10 - The “revelation” of musical arrangement.
24:21 - Exposing emotion through music.
25:19 - You never know if something will be a “Hit”.
25:56 - Adrenaline on stage and the “unknown” of Jazz.
26:58 - Film composition can be constraining.
27:46 - A lot of producers involved in editing films.
28:00 - How I approach film scoring.
29:16 - How I like to start writing music for films.
30:01 - Working with the director to get the music for the film.
30:29 - How much time needs a composer to score a film?
30:50 - When a track is finished?
31:20 - Thinking about the orchestration.
31:40 - I always “hear” the orchestra.
32:02 - The art of orchestration.
34:05 - Working on long running TV like Poldark.
34:40 - I like to be in “Control”.
35:24 - Always good to have other performers.
35:47 - Sometimes mistakes are good.
35:59 - Following the idea from start to finish.
36:37 - Taking breaks from mixing.
37:09 - I don’t like to fix it in the mix.
37:33 - Director’s involvement in scoring.

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