I am still knee deep in the post-production of my new film THE WHITE FLOWER, which I'm trying to complete by end of this month.
A shot from WHITE FLOWER
The two key participants during this whole process, aside from the main cast members (Zhu Dan, Kong and Toru Inamura, who played the doctor) whom I got back to do voiceovers with, had been Niklas the cinematographer/photographer and also my old secondary school friend, Woan Foong (WF), who had offered to do the music composing for me.
Niklas had returned to Finland after the shoot, while WF's been based in US for the past few years. I can only contact them via the net (the former with Facebook chat, the latter with Gmail chat).
Usually what I do is that I edit a sequence, and I'll email the video files to them, show them what I'm missing, ask for suggestions. Been working like that for the past few weeks, I could almost relate to the whole 'Wes Anderson directing FANTASTIC MR FOX via email' controversy. (more details here)
After that, Niklas would compile additional photos for me to use in the film, while WF would put together some music pieces. The former sending me via Facebook message, the latter via email. I'm fortunate that I have a messed up sleeping pattern (I usually fall asleep, or have a 'night nap' from 11pm and wake up around 2am, and then stay awake through the night before i sleep again after breakfast at 7:30am, yes, it's THAT messed up), so time difference isn't a major issue.
Now, here's a sample of how I make decisions on the music for THE WHITE FLOWER. From GMAIL chat.
WF: i am giving you layerings for cello. Is there anything else that you want?
me: any suggestions? i'll probably stick with cello stuff for now
WF: well, i was thinking i can give you some noise sounds from the cello
you can fit it in wherever to add more colour?
i am trying to avoid giving something rhythmic
me: something more like KRRROOOOOOO
or KROOOOOOOEEEEEEEEIIIIEEAAA is fine too