Score IT! Plus – CAUGHT!
When a deep bond flourishes between two boys, a hairy secret and a devoted mother unknowingly stands between them.
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Run time: 04:30
CAUGHT! is a film about the bond two boys make under the watchful gaze of an upset mother, and the score should reflect this. With a very organic flow, and a focus on montages, CAUGHT! relies on the music to tie the flow of the plot together neatly. There is no foley, dialogue, or sound effects, so the composition should enrapture the audience and connect them to the bonds being tightly formed and heartbreakingly broken. Music can convey more emotions than words ever can, so it’s important that the tone is appropriate to the primary plot points.
The music should be organic to suit the focus on natural environments. Stringed instruments would especially fit the aesthetic well!
The beginning should start slowly and cautiously, infusing the story with a sense of growing curiosity as the two boys meet. Their hands connecting is a major recurring visual symbol in the film, one that represents trust and compassion, so try to score that gesture consistently every time it happens to help knit the film together.
When the boys meet Eddie’s mother for the first time, there should be hesitation within the score as Liam (the wolf boy) meets her. Keep it anxious but still light, and wipe away the anxiety as Eddie takes Liam’s hand to drag him into the house. Have something ominous looming around the mother as it focuses on her before cutting to the montage.
A note from Cam:
Occasionally there are brief flashes of images that are black silhouettes on a red background. The first time this happens is in this scene at 1:06. These images represent the mother seeing things differently to how they are in reality … usually in a darker and more disturbing way … and the Director refers to them as the “seeing red” aspects of the film. He wants these images to be scored consistently throughout the film, building to the main conflict scene where they play a big part.
Back to the Director’s Musical Brief:
The montage is about connecting with the boys and their friendship, so make it fun! They’re having a ball getting to know each other, so having the audience feel that too would be fantastic. Some anxiety should creep in as the storm clouds come closer, but as the hands connect the feeling of trust and compassion should sweep in and wash it out.
As the rain fades in, keep the atmosphere calm. The tension should only rise as the mother is introduced into the scene. Once she’s there, build the tension quickly and to a high level. It should continue to grow until the screen cuts to black, where Liam is then thrown against the wall. The tension should turn into blistering disappointment as Eddie turns to his mother.
When the field comes into view, keep the music sad, slow, and quiet. The boys reuniting is THE BIG MOMENT! As the emotional climax of the film, this is the exact place where you want the audience to start crying, and it’s the music’s job to make them feel it. When those boys connect for the hug, that’s where the trust, compassion, and love for each other should be musically exploited. Please make it beautiful!
As the mother enters the scene, there should be hesitation as the boys consider what to do before Liam steps forward. The music should fall away as Liam runs over and stands before her. The audience should be holding their breath at this point waiting to see what happens so perhaps complete quiet here would be most effective. When Liam sticks his hand out, hold the tension until it pans up to his face before relaxing. The relief felt by the mother should be emphasised with the score. The rest should be a pleasant wrap-up of the plot!
Note: Under NO circumstances are students to replace the current music credits on CAUGHT! with their own name as composer. Doing so destroys the “blind” judging aspect of the competition. Tampering with the credits will immediately disqualify your entry.
Note: It is a requirement that students write for all 4 woodwind players and their instruments; all 3 brass players and their instruments; and all 5 string players and their instruments as listed in the ensemble below. The student must also write for at least one (1) percussionist. If necessary, the student may write for a second percussionist. There is to be no more than two (2) percussionists.
Students can choose from the following list of percussion instruments:
You are not required to write for all the percussion instruments listed above. You may select a manageable number of percussion instruments from the list to use in the score.
Keep in mind the time it takes for a player to move from instrument to instrument, and to change mallets and sticks. You must allow a few beats rest – or sometimes a few bars rest – for the player to move to a new instrument and to pick up a new set of sticks or mallets if necessary.
If you write for two (2) percussionists, the players must not swap instruments. For example, if Percussionist #1 plays the snare drum, then they must always play the snare drum, and Percussionist #2 cannot. The snare drum becomes part of Percussionist #1’s instrument setup and will not be played at any point by Percussionist #2.
NOTE: It is helpful if all parts for each percussionist are consolidated onto one staff. Click here to download the PDF of the score layout.
Our judge, Cameron Patrick, has provided some tips to help you with your composition. You can download these here:
Score It! Plus will be judged by award-winning screen composer and orchestrator, Cameron Patrick, who will select three semi-finalists for the Plus category, from which one finalist will be awarded as the winner. The winner of Score IT! Plus will see their orchestration come to life, live at the Award Ceremony on Wednesday 24 July 2019.
CAN I ENTER MORE THAN ONE CATEGORY?
Yes, you can enter more than one category depending on your year level. For example, students can enter Junior and Plus or Senior and Plus.
WHAT CAN I WIN?
WHAT DOES IT COST?
Score IT! is free to enter and does not have any registration or other fees.
If you chose to mail in your composition and score all costs including DVD and mailing charges are the responsibility of each entrant.
Should airfares and accommodation not be required by the finalist, other travel allowances may be made available. All food, incidentals and personal costs related to the Brisbane trip are at the cost of finalist.