Visual elements very often make up the essence of a film’s appeal but soundbites can also be a defining part of a cinematic experience.

Take, for example, simple yet iconic soundbites like the two alternating notes from Jaws (1975) or the strings in Psycho (1960). Separated from the context of the scene, these soundbites may not make sense but have become widely recognizable in the public sphere — to the point of parody.

Different moods for different films require different approaches. Rocky’s (1976) “Gonna Fly Now”, for example, provides a sense of anticipation as the title character runs up the 72 steps to Philadelphia Museum of Art, while “The Imperial March” signals the ominous arrival of Star Wars’ main villain Darth Vader.

Composer Ifa Fachir, who worked on the 2018 remake of Keluarga Cemara (Cemara Family), said the key to composing soundbites and musical scores for films was synergy with the director.

“There are several composers who state that their job is the only role the director cannot perform. The director is typically not a musician or a composer, so we basically continue the filmmaking process in ways they are unable to,” Ifa told The Jakarta Post.

Ifa highlighted a part in Keluarga Cemara in which there is no musical melody to accompany the scene, only the character’s footsteps over leaves on the ground.

He noted decisions on the style of music and melody, or whether a musical score was even present in a scene, must have the director’s blessing.

“At the end of the day, we’re both artists with our own egos, but we both have to know what the movie needs. [...] The final call is the director’s because, of course, it’s their movie.”

To create that synergy, the composer normally joins the director for a spotting session so they can gain a better understanding of one another. Ifa recalled that he sat with director Yandy Laurens to pore over each individual scene.

“That also creates room for the composer to come up with their own ideas. For example, the director may say one thing, and we composers suggest something else. Everything has to be tried out to see whether it works with the scene,” Ifa explained.

“Even though we have to follow the director’s guidance most of the time, sometimes we can voice our own suggestions. For scenes in Keluarga Cemara that were a turning point in the movie, I asked to be allowed to try
something.”

Though directors vary in personality, Ifa said most of the ones he knew were willing to give other creative-minded people space.

However, Ifa cautioned about getting too experimental when there was a strict deadline. He also remarked about the challenges the composer faces creating a musical score, noting that even legends like Hans Zimmer could face a creative block.

“That’s always a part of the creative process, but in my experience you just need one good trigger to open up a window to inspiration. What drives me to write a song or melody is very simple; I listen to other melodies and songs that inspire me,” he explained, adding that he drew inspiration from Alan Silvestri’s work in Forrest Gump and The Parent Trap for Keluarga Cemara.

Ifa’s next project is Ernest Prakasa’s romantic-comedy Imperfect: Karier, Cinta & Timbangan (Imperfect: Career, Love & Scale), which is slated to hit theaters on Dec. 19. He said the romantic-comedy nature of the movie presented a challenge, as he had to find the comedic balance without veering into slapstick.

“It’s about creating a good melody, but at the same time applying a comedic filter to it.”

A well written composition can have lasting effects beyond the original movie. For example, “Battle Without Honor or Humanity” was taken from the 2000 movie New Battles Without Honor or Humanity and inserted into Quentin Tarantino’s Kill Bill Volume 1, while anything shark-related will most likely pay homage the famous Jaws motif.

Ifa said homages were common, and some compositions, like the Mission: Impossible or James Bond themes, had become so ingrained in the collective conscience that they could come to define a genre.

“At the same time, we can also develop compositions into something else. For example, Keluarga Cemara has the song ‘Harta Berharga’ [Precious Treasure] from the original [TV] series, which has become so iconic you have to include it in the remake,” he said.

“But as a composer what I do is I give my own interpretation, so I’m sure any composer, should they want to pay homage to it, will give it their own touch, and that is what makes you a creative person.”

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