Music in Movies and TV: Supergirl

 

Music in Movies and TV: Supergirl

 

Unlike Michael Dean Parsons and Kris Bowers, Claudia Sarne doesn't necessarily agree that every requested change will improve a scene. Yet she is a team player. As in any other field of collaboration, Claudia recognizes she is just one contributor to this year's Supergirl movie. So, when director Craig Gillespie suggested she lighten the mood for the Argo scene, Claudia agrees that her second attempt helps balance Kara Zor-El and Krypto’s traumatic departure from the city with the movie’s overall score.

 

Another scene highlights the conditions musicians often face when composing music for film. Claudia received a scene of Kara being attacked in space with no notes regarding where it fit into the movie. The way she read the scene, Claudia guessed it was the end of the movie. So, she went all out to give Kara's story a rousing finish, only to learn later that the scene fit in elsewhere.

 

When asked how Artificial Intelligence may threaten her career, Claudia feels the introduction of AI is inevitable. Filmmakers cannot afford to ignore inexpensive tools that hasten the filmmaking process. Yet just as movies and TV shows connect with us at a deeply personal level, Claudia holds out hope that savvy directors will always value the Human element in bringing their vision to life. 

 

Whether scoring grounded emotional scenes or enhancing spectacular action set pieces, Claudia Sarne loves doing both. They are all important in crafting a compelling story. And just like any other artist, she loves making art. But instead of applying pigments to paper, Claudia paints with sound, propelling viewers on life-changing journeys with their favorite characters.

 

Thanks to Claudia Sarne, Warner Brothers, and San Diego Comic-Con for sharing this story with us.

 

To hear from Michael Dean Parsons and Kris Bowers, see Music in Movies and TV: Spider-Noir.