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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : July August 2007
Black Water - doco style terror feature to open in UK in January Sumo Salad Fat Inner Child (BWM, Sydney) - shortlisted at Cannes Telstra BigPond (BWM) - multi-award winner Mizone Rapid (Clemenger) - gritty suspense of time BBQs Galore (The Foundry) - cooks up a storm Nike (Wieden + Kennedy) - Stylised sonic world WHY RAFAELMAY STAYSIN TUNE In an age of anonymous musicians hiding behind shared reels, not all play the game of being part of a music factory. Rafael May’s soundtracks cut through the creative barriers by being distinctive and individual. CB caught up for a chat at Raf’s wicked studio at Bronte Beach. May: “The most important thing about sound and music is emotional response and individuality to stand out” How do you see your role as composer/sound designer? My job is to bring a unique per- sonality to the soundtracks I create. The music and sound can bring instant warmth, humour, intimacy, aggression or relaxation to the pic- tures. I find more and more that I am asked to he lp create an identity that can enhances the brand and stays stuck in your head. Distinct character is what it is all about. I created the reggae trombone theme for GIO and rewrite it to concept script by script. My BigPond whis- tle tune has lit up the great work done by B WM. Color bon d i s another example. What are some of the highlights of the last year? Taking the piss out of the “toy piano” music trend in Sumo Salad JU L Y /AUGUST 2 007 (shortlisted a t Cannes), j azzing up GIO Nig htout, humanisi ng Woolwor ths for M&C Saatchi, chipmonked v oices an d b ig b eats for Milo C ereal and hook y gui tar for Mitsubishi Outlander. I ha d a laugh coming up with a BBQ hum- min g an them fo r BBQ Galore’ s wacky n ew TVC s hot by A dria n Hayward (aht) for The Foundry. You also create specialised sound design. I am one of the few people that can work in music and sound design. I get asked to create abstract scored sound pi eces. The Nike spots just finished for Wieden + Kennedy cre- ating a stylised sonic world around surreal animation about the head- space of China’s greatest basketball player. Mizone’s new TVC is based both on hard sport power and gritty suspense of time. The sound design sucks you in and out a s the oppo- nent breaks up. How do you work differently from others? I have never been part of a music factory. My reel i s not a coll ection of ten or more people’s work. Like a director, I l ive by what I c reate. This means working without barri- ers to the c reatives a nd changing direction on a dime if that is what is needed to achieve cut through. I’ve never b een g enre b ased and a m always looking for new ways to cre- ate. The m ost i mpor tant thin g about sound and music is emotion - al r esp onse and in divid uali ty t o stand out. You have spent the earlier part of the year on a feature film. How was that? I jumped at the invitation to com- pose the music for the feature film Black Water (a d oco st yle na ture terror thriller). I t’s a lways good to creativel y work beyond commer - cials. Previously I have created music for Aki ra I sogawa fa shion parades for Sydney and Paris, and shor t films for Nick Robinson (Plaza) and Richar d Gibson (Luscious). Black Water has a com- bination of t ense f ear music, dra- matic attack scenes and more emo- tive themes. I t will be out on 100 screens in the UK in January and in Oz next Easter. (Sneak previews are on our website). Raf’s studios are at stunning Bronte Beach, Sydney. To s ee Rafael May’s work go to www.rafaelmay.com or call Katherine for a reel: (+612) 9369 5252 CAM PA IGN B R I E F 67
September October 2007
May June 2007