Immediate's scoring leaves a lasting impression
In today’s movie business, the movie trailer carries almost as much importance and buzz as the movie it precedes, and like any good film, its musical score — often different from the eventual score — has to be just as dynamic and uplifting.
This is where Yoav Goren and the company he co-founded with Jeffrey Fayman, Immediate Music, come into play, composing and compiling a soundtrack that will accentuate a film’s appeal without ever appearing in the actual movie. The oufit, which has recently moved to a 3,000-square-foot facility in Santa Monica that includes two additional state-of-the-art production studios, often works on a scale that befits full-blown scoring.
“When we are putting these trailers together, we are (often) using big orchestral, choir music into our pieces that end up costing a lot of time and money,” says Goren, who with Fayman earned an Emmy last year for their music for the 20th Olympic Winter Games.
Goren describes his projects as “two-minute advertisement vehicles” and explains that original trailer music is important because most movie scores don’t fit that advertising mold.
“I’d say about 99% of the time, the score you see in a movie does not work in a short stylized piece of advertising,” Goren says.
Goren gives examples such as “No Country for Old Men,” which featured a very chilling composition in the trailer and later proved to be one of the Coen brothers’ biggest hits. And yet the film is notable for its conspicuous lack of music.
Immediate Music has helped some recent box office hits get off the ground, adding music to such campaigns as “Iron Man,” “Hancock” and “The Incredible Hulk” as well as the upcoming “Harry Potter and the Half-Blood Prince,” while their TV promo work includes “Lost,” “Weeds” and the HBO mini “John Adams.”
In terms of originality, Goren says it is not uncommon for a film to use a composition from a previous trailer but that Immediate’s intent is to always introduce something new.
“(For) people who put together trailers for big tentpole movies,” Goran says, “one of the parameters that they insist on is it be something that hasn’t been licensed before.”