(Composer Harry Gregson-Williams talks about scoring the highly-anticpated doc “Life in a Day”)

The “Music and Film: The Creative Process” roundtable presented by BMI in Park City featured the composers and directors of 12 of Sundance’s hottest films.

“The scariest thing is to give your film over to a composer. It’s your baby, and suddenly it’s in their hands. It’s a leap of faith,” confessed George Ratliff, director of “Salvation Boulevard” on working with composer George S. Clinton.

The packed room at the Sundance House Arts Center nodded in agreement. Some laughed. A few composers squirmed. One director nervously tapped his leg. Yes, this mysterious process is scary magic.

Matthew Chapman, director of “The Ledge” compared his relationship with composer Nathan Barr to a marriage. “Sometimes I know he wanted to smack me with his guitar,” said Chapman with a laugh.

(Photo: Composer Nathan Barr, panel moderator Doreen Ringer-Ross (BMI), and director Matthew Chapman)

All agreed that the director/composer relationship may be one of the most challenging and the most rewarding. Music in many ways can make a film. The music serves to move character and story-line along and guide the audience through an emotional journey. Many of the composers on the panel had met their respective directors at the Sundance Composers Lab, including composer Gingger Shankar and “Circumstance” director Maryam Keshavarz. “The key is really communication,” said Gingger. “And trust.”

First time director Susan Saladoff (“Hot Coffee”) admitted the entire music process was terrifying. “Not only am I a first time director, I really don’t know anything about music.”  Saladoff found her film’s composer Michael Mollura at last year’s Sundance. “I heard his music for ‘Climate Refugees’ and wanted to work with him.”

Mollura added, “It’s a true Sundance love story.”

(Photo: Composer Michael Mollura and director Susan Saladoff)