Battle of the Sexes Composer Nicholas Britell

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My interview with “Battle of the Sexes” composer Nicholas Britell is on the Huffington Post. Here’s an excerpt:

Musically it was a wonderful experience to work so closely with John and Valerie. We spent months together while they were editing the movie. I came up with a series of musical theme ideas and we mapped it out over the course of the film. There is a Bobby Riggs personal theme which is scored for a small jazz group with an upright piano and a double bass and a drum kit and then there are a few woodwinds here and there. And then there is a Billie Jean personal theme that reflects the changes she experiences. The colors of that theme change over the course of the film, so in the beginning it is more of an ambient soundscape and by the end it’s actually a full 79-piece orchestra. Her theme evolves until it finally reaches its full scope where there is a big cello in the match with her theme and then at the moment of her victory, there is a full orchestra taking it over. So it was exciting to see the way in which the geography of the musical ideas could live in parallel to the story.

And one of the things we really utilized throughout the film was the evolution of instrumentation. We thought a lot about the musical colors themselves. One of the first things we talked about was how this is a big story set in 1973, so what should the music actually sound like? We used some old-style equipment to try to have the music feel like it might have been recorded in the 1970s. One of our first ideas was: what if I were to write classical style music but written for 1970’s rock band instrumentation, electric guitars and electric bass and drums and an electric rock organ that is woven in through the whole movie. In the beginning, it’s very quiet in the background and in the tennis match you really hear it and it gets focused on. We started with the 70’s band instrumentation and as we explored the film and worked on it together, we started saying, “What if we had woodwinds here?” and “What if we have strings?” The movie responded so immediately to those experiments. The movie wanted the largest scope as the story unfolded.

My review of Battle of the Sexes.

My interview with Nicholas Britell about his score for “Moonlight

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Composers at Comic-Con: On “Black Panther,” “Evil Dead” and “Scooby-Doo”

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For Where to Watch, I wrote about some of the composers for movies and television I saw at Comic-Con.

The crowd was especially excited to hear from Ludwig Göransson, who is scoring Black Panther. He met director Ryan Coogler at USC and worked on his student film, and then again on “Creed.” For “Black Panther” he spent a month in Senegal and South Africa, recording rhythms and instruments, and played some of what he recorded for the film score.

A highlight of the panel was the discussion of rejection. Tyler said it was an chance to hold onto a rejected idea and use it again later, and Isham quoted director Robert Altman: “Any time someone rejects something, its an opportunity to make it better.”

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Daniel Pemberton on Composing the Score of “Gold”

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Daniel Pemberton is one of my favorite composers (“The Man from Uncle,” “Steve Jobs”) and I was delighted to catch up with him to talk about the score for the new Matthew McConaughey film “Gold,” inspired by the true story of the rise and fall of a gold miner.

“Gold is a pretty remarkable movie about this character called Kenny Wells who comes from a family of gold prospectors,” Pemberton said. “He is down on his luck, down to his last few bucks but he still believes and dreams he can make it big. So he goes on one last splurge to try and find a gold mine in the Indonesian jungle which he does, remarkably, and then it’s kind of rise with him and what he has to battle with having found that gold mine.” Former Sexiest Man Alive Matthew McConaughey is almost unrecognizable in the film, “with a massive pot belly and balding.”

Pemberton came to the project later than usual, “but it was really great to work with Stephen Gaghan, who I hadn’t worked with before. He was a really great collaborator to work with, really enthusiastic and great at trying to push unusual ideas into the score. It is a quite complicated film to score in the sense that it’s not really like a film you can describe in one line. It’s got everything. There are aspect of the relationship between Kenny and his wife played by Bryce Dallas Howard, there is this kind of caper of trying to find the gold mine, there are two major locations which are the jungle and New York. What I really wanted to do with the soundtrack is take New York to the jungle and take the jungle to New York. Even though they are vastly different there were still similarities. The mountains of Indonesia were not that different to skyscrapers in New York and there are predators in the jungle and we have predators of Wall Street who try and take over what Kenny’s built. And so musically it’s trying to find a way to put all these story strands together and try and do it in an unusual fashion.”

Wall Street is famous for a sound that is musical but not usually heard in music. “I always try to find a way into every film I do. I was watching it again and again and there was a noise that came in the film, that I’ve heard many times before but I don’t think it has been used musically and I was suddenly struck by this sound. It was perfect for the film. It’s the sort of sound of the American dream, of modern capitalism, of making it rich, of New York City and it’s a bell and it has a pitch I like as well. It’s bare metal and shiny and it’s the bell at the New York Stock Exchange. We started trying these ideas, taking that bell and looping it and building beats underneath it and rhythms and throwing that into these early adventures in Indonesia and it was just amazing to have just the right pace for the film and his relentless drive. Kenny won’t stop even if he’s down to his last dime. He always keep going. And that bell has got a sound like someone just hitting away which is like a casino paying out or like people smashing rocks. So, it was a really great sound. So I end up manipulating that a lot, using it like straight, looped, then I speed it up or slow it down. Slow it down and it sounds like this incredible death bell. That is all peppered through the score. It was a really interesting starting block and then I went into using different kinds of bell and gongs as well and then there’s like a real variety of instrumentation, more synthetic for the relationship moments. It’s quite a broad canvas musically on this film.”

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Interview: Pharrell Williams on the Music of “Hidden Figures”

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“Hidden Figures,” the true story of African-American women mathematicians at NASA during the 1960’s is one of the most uplifting films of the year. Its score is composed by by Hollywood legend Hans Zimmer with Benjamin Wallfisch and the best pop producer in the business and one of the most popular performers as well, Pharrell Williams, who told me “I’m lucky to be a part of this film.” Even before he got involved, Williams had begun to experiment with some 60’s-inspired compositions. “I grew up around that kind of music because I was born 11 years later. So I used to hear it around the house, my parents played it and at my grandmother’s house too, I used to hear the music. That’s a very crazy time, but it felt good and it was all music that evoked, music that came from the soul and that’s why they call it soul music. It was like you could just feel the core of where someone was coming from.” He used a mix of old and new instruments to create the sound.

Copyright 2016 Nell Minow
Copyright 2016 Nell Minow

Williams has worked with a wide range of musicians and performers. “Collaborating allows me to channel and learn new ways of working, new ways of thinking, new directions. This is all an education. Life is an education, so every time I collaborate with somebody it’s like a crash course into the way that they work, into this new moment that we are sharing and into uncharted territories.”

He told me what he learned from Zimmer and Wallfisch about writing music to complement a story. “Hans always likes to find the poetry in a script and then he likes to parallel it with the score. And Ben is like a seeker of tenderness.  I like to stoke the fires and try and stimulate something. So it was like this really interesting trio in the way that we worked. It was a whole lot of fun. And ultimately we came to the conclusion that when you think about scores there’s always like the default go to, Euro/Anglo angle when composing a score so we thought well, these women were not Euro and they were not Anglo. They were African-American, they were women and it was the 1960s, so those were our coordinates. That’s what we locked in on and that’s what we tried to chase.” He said this might be the music they listened to as they were cooking and driving to work.  “This music was meant to be the backdrop to the most important dialogue and the most important stories in its universe, in its world and so the music was never supposed to shine brighter than what was going on in the film because that was the most important part.” He said that does not mean creating the melodies differently but “you’ll know when it’s doing too much. I tried to pull the fire out of something first. Like in other words if you ask me do that then I have to go to that dial I have to dive deep on the four dimensional level and try to well up as much fire as I can and then I dial it down once I’ve got it.”

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Interview: Joby Talbot, Composer for “Sing”

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When a movie is called “Sing” and it centers on an “American Idol”-type amateur singing competition — with animal characters — it presents something of a challenge for its composer, who has to figure out a way to tie together a wildly and often hilariously disparate bunch of songs and singers. So it was a lot of fun to talk to composer Joby Talbot about how he managed to create a lively and engaging score that meshed with a bunch of iconic tunes from many different genres.

“The film is directed and written by my old friend Garth Jennings,” he told me. “I wrote the music for both of his other films, Hitchhiker’s Guide to the Galaxy and Son of Rambow, and when he asked me to do it I completely leapt to the chance to work with him and with Illumination, one of the absolute greats in this golden days of animation that we’re living through at the moment. I love “Despicable Me’ and ‘Lorax,’ and all those other movies they have made. Garth explained what it was and he said that they made the decision early on they were going to keep the whole score and song elements quite separate. They do overlap occasionally but Harvey Mason Jr. and his team were in charge of the songs and I was in charge of the score. We realized very early on that the score was going to have a lot of work to do. It’s really important that in this film it is necessarily broken up by some numbers but there’s something that’s really a central kernel, and impetus of the film that really takes you through it. The score really helps you leap between the different storylines or the different characters but most importantly really helps you identify with the characters, helps gets across their kind of emotional journey and who they are and helps you really care for them and fall in love with them. That’s what I was setting out to do with the music. The music cues in the score, even though sometimes they are quite short when they fall in between songs just taking you from one to another, that doesn’t mean they are small or not important. They’re doing so much work all the time. The themes being developed and a whole number of different emotions being thrown at you — that is the work of the score, so it’s actually a huge challenge but I really enjoyed it.”

Talbot met the director in the 90’s, when he was playing in a rock band and Jennings was doing music videos. “I used to play in a band called Divine Comedy way in the 90’s in England and he was one half of Hammer and Tongs who made their name doing promo videos for pop songs. He’s one of the really famous directors in the golden days of the pop videos back in the day when there were enormous budgets and MTV ruled the world. Garth was one of the main guys and we met through our mutual friend Nigel Godrich, the producer of Radiohead and Beck, he’s got great, amazing talent, and Garth was directing actually a commercial for British telecom, the big telecommunications company in Britain and it was supposed to be like a sort of 90 second mini disaster movie with all kinds of objects falling out of the sky. Nigel suggested me for the music and although I hadn’t met Garth I actually knew his wife quite well. She had been in charge of the clothes we wore on a particular pop video that we did.

Copyright 2016 Illumination
Copyright 2016 Illumination
And we met and instantly we got on really, really well. Garth had never worked with a composer actually scoring in any of the films he had made and I felt incredibly lucky to be the guy who got that gig because and his approach as a director is inspired by people like Billy Wilder. He likes that kind of old-school moviemaking and he was adamant he wanted an orchestral score and he wanted it to function in a way those great orchestral scores of yesteryear worked. With my background in classical music that absolutely chimed for me and we just hit it off and never looked back really. Working with him is always a complete joy. I have a couple of collaborators in different fields who I really, really love working with and Garth is one of the best. He such a thrill to work with. We just get each other; it’s great.”

This film has animal characters that include a pig who is a housewife and mother, a shy teenage elephant, and the ape son of a crime boss. There are dramatic incidents which could be quite intense in another kind of film like a robbery, a parent in prison, and a fire. Talbot spoke about finding a way to musically reassure people that it’s exciting not too tense or scary. “There was one cue where they go to the visiting room at the prison and they were aware that that might be rather scary and alarming sequence for a little kids, so that was the one cue where they said, ‘If you could try and reassure us with the music rather than amping up the scariness but everything else, that would be great.’ I just was going with my feeling as to what the emotion of the scene was meant to be. The big robbery sequences were really kind of full contemporary action. So we brought in some really fantastic guitar and drum and bass players and overlaid it with big, bombastic orchestra. But those sequences don’t last that long, so you are just like catapulted into that world and then you are spat out the other end and you get on with the rest of the film. One thing I’ve learned pretty quickly, there was no putting any kind of intro into anything, it is just like, blam! We’re into the cue, here we go. The film actually lives or dies on whether or not you believe in these characters, believe in their motivations and care what happens to them and really root for them. The music has a huge role to play in that. For example, Meena the elephant is so paralyzed with shyness. It isn’t until later in the film that she sings and so the music really has to tell you what she’s failing to tell the world until finally of course in the end she has the opportunity to tell the world that she’s absolutely great. Tori Kelly has amazing vocal power. She’s incredible.”

The movie has a sensational collection of great songs, from “My Way” to “Shake It Off” to “Baby Got Back” and even “Bad Romance.” I was able to persuade Talbot to confess which is his favorite: “I am a big Steve Wonder fan, so ‘Don’t Worry ‘Bout a Thing.” But he adds, “The things that’s really nice about it is that you might go there knowing full well that you don’t like some song or kind of music and then you find yourself with a big smile on your face tapping your foot.”

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Composers Interview
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