The great arranger Nelson Riddle (yes, that's him on the right with the trombone) is perhaps best known for the ground-breaking easy-swingin' style he developed for Frank Sinatra at Capitol Records in the 1950's. He created the beautiful, sweeping arrangements for Nat "King" Cole's "Mona Lisa" and "Unforgettable", and worked with Peggy Lee, Tommy Dorsey and Linda Ronstadt among many others. He also wrote and arranged for movies, including "Ocean's Eleven" and Kubrick's "Lolita", and won an Oscar in 1974 for his work on "The Great Gatsby". In his tutorial book "Arranged By Nelson Riddle", he outlines the process of coming up with ideas for movie music. Anyone who has ever written music for movies, TV or commercials will recognise themselves in this situation:

"The arranger/composer for films needs to become acquainted with a few new tools in order to move comfortably in this medium, which differs considerably from the more or less straightforward approach toward writing for recordings.

"Having been assigned the scoring of a film, the first person the arranger/composer will meet up with will be the producer, the director, or both. These gentlemen will call the arranger/composer in for some discussions of what they expect to hear in the score, and due to exigencies of time, which usually are alarmingly present, they will want to show you their "baby", the film. It is best to remember that, in all probability, both the director and the producer have slept, awakened, shaved, eaten all their meals, and have driven to the office thinking of very little else but this creation of theirs for several overcharged months. So it would be wise, as when a proud father flips a baby picture from his wallet, to try to register enthusiasm when seeing the film, lest they think of you as "cold", unfeeling, and quite atypical of the audience they are striving to reach. This enthusiasm can be manifested by well-timed "ahh's", "ooh's", forced laughter and an occasional meaningful "grunt" of appreciation for all that is being dangled before your eyes.

"At the second running of the film, or the third, or occasionally (in a situation of near desperation) the first, there will be an attempt to "spot" the movie, the process of deciding which scenes of the film are to be scored and which are to be left alone to survive (it is hoped) on their own merit.

"The arranger/composer will be expected to contribute some intelligent input in this matter, and if he can assimilate the movie quickly enough and is able to speak in an authoritative manner, can usually make some of his ideas stick. It must be remembered, however, that spotting ideas arrived at with lightning-like genius may lose their cleverness upon further consideration, to the point where they prove totally impractical. By now these gems of insight may have found their way into the spotting notes (a secretary is usually present at each running) and from that vantage point loom as a fearsome hurdle to justify musically. Nevertheless, the musician, as the architect of this damnable blueprint, is committed to making it come to life. He can do that, or he can back out of the situation as gracefully as possible under the circumstances. A grim choice!

"It is occasionally better to let the producer or director do the leading for a while. This method affords the arranger/composer valuable time to think of what he is going to say and perhaps whip his ideas into a workable plan he can live with.

"He will also find at the session that no shortage of ideas exist in the minds of his two superiors. They, as stated before, have "lived" with this project for a considerable time and, based on some malevolent quirk of human nature, know their jobs inside and out, plus all there is to know about music!"

From "Arranged by Nelson Riddle", ©Nelson Riddle, 1985