Scoring Horror: Interview with MARCO BELTRAMI (Part 1 of 2)
Scoring Horror Presents:
An Interview with MARCO BELTRAMI
By Barry Lee Dejasu
(Part 1 of 2)
If you’ve seen any of the following movies…
- · SCREAM (1997)
- · MIMIC (1998)
- · SCREAM 2 (1998)
- · THE FACULTY (1998)
- · SCREAM 3 (2000)
- · THE WATCHER (2000)
- · DRACULA 2000 (2000)
- · ANGEL EYES (2001)
- · JOY RIDE (2001)
- · RESIDENT EVIL (2002)
- · BLADE II (2002)
- · TERMINATOR 3: RISE OF THE MACHINES (2003)
- · HELLBOY (2004)
- · I, ROBOT (2004)
- · FLIGHT OF THE PHOENIX (2004)
- · RED EYE (2005)
- · LIVE FREE OR DIE HARD (2007)
- · 3:10 TO YUMA (2007)
- · THE HURT LOCKER (2008)
- · MAX PAYNE (2009)
- · SOUL SURFER (2011)
- · SCREAM 4 (2012)
- · THE THING (2012)
- · THE WOMAN IN BLACK (2012)
- · THE THING (2012)
- · TROUBLE WITH THE CURVE (2012)
- · WARM BODIES (2013)
- · A GOOD DAY TO DIE HARD (2013)
…then you’ve also heard the music of Marco Beltrami.
To date, he has scored almost sixty films and a number of television shows, in just about every genre. Mr. Beltrami is recognized not only by the sheer abundance of his résumé, however; he was nominated for two Academy Awards for Best Film Score for his respective work on 3:10 TO YUMA (2007) and THE HURT LOCKER (2008).
Earlier this year, he’d scored the “romantic zombedy” WARM BODIES (partnered with fellow composer/producer Buck Sanders), as well as the latest adventure of John McClane (Bruce Willis), A GOOD DAY TO DIE HARD. This fall, moviegoers will also hear Mr. Beltrami’s music in the CARRIE remake, as well as in the post-apocalyptic snowbound train thriller SNOWPIERCER.
At present, however, moviegoers will be thrilled with the double-assault of two big summer tent pole films featuring Mr. Beltrami’s work, WORLD WAR Z and THE WOLVERINE. Mr. Beltrami was kind enough to carve some time out of his busy schedule for an interview about his music in these films.
Part One: WORLD WAR Z
This is the story of the end of the world in the rise of a zombie apocalypse, and humankind’s attempts to end the threat. A former UN investigator, Gerry Lane (Brad Pitt), is forced to leave his family to help in the war against the undead
BLD: This movie, as just about everybody knows, faced an unusually long and bumpy ride in its production. When did you become involved? And did you have to keep up with any of its final changes (including the filming of an entirely different ending)?
MT: I started a year ago, last October. We had a movie to work from, to look at, to get ideas from. They had some additional photography they were doing, and some reshoots and stuff, and during that period, I stopped working, because there was no picture to work on.
BLD: So during all the reshoots, did you have to just sit and wait, or did you try to keep working at the score on the side?
MB: It’s a long time to be on a film, and plenty of times (I had) ideas as the footage came in. It actually wasn’t that long of a time; I already had things fleshed out for some scenes, but in terms of getting things written, it was time consuming, and the picture was not really locked (because) even then things were changing. So it turned out to be a short schedule for something that was a long process.
BLD: Was it hard to stay focused, or did you have a general plan that you stuck to?
MB: No, I had ideas. We had a really good music editor that guided us on it, John Finklea, and he really stayed in close with the editorial team and the producers and was able to get a good sense of what they were looking for. There were different people involved, creatively, and anytime there’s more than one person involved, it becomes a little bit of a translation thing, to figure out what exactly is the common ground for everybody. (John) was really instrumental in deciphering that and helping the process go smooth.
BLD: This film focuses largely upon one particular person (Brad Pitt) and his plights in the zombie uprising. How did you approach that dynamic of individual empathy against the backdrop of worldwide horror and survival?
MB: For me, the story was at once epic, but also intimate. There’s a universal nature to a horrific thing that’s going on. There’s also the very personal nature of this guy, Brad Pitt’s character, trying to save his family. The interesting thing is where these (plots) intersect, because thematically, I think the same themes can play for both, because every man’s journey is the journey of mankind. Sometimes it became a question of instrumentation and orchestration. There’s a thematic continuity between the epicness and the intimacy.
BLD: Did you incorporate, or even create, any unusual instruments for the score?
MB: The original thought of the score was that it would (follow) the first scene in Philadelphia, when all hell breaks loose and things are going bad (and it) cuts to this emergency tone. It always did, from the first time I saw the picture. When Buck (Sanders, composer) and I first looked at it, we thought it’d be really cool to use that emergency broadcast signal as a musical start, or like a motive, from which everything else could be derived. So we began to research what was involved in that, and it turns out that the pitches were something that can be used melodically as well, so that became a basis for much of the music.
The other thing that we thought would be neat, rhythmically, was the nature of zombies using their teeth, so we needed something that related to that. It turns out that there’s a… (laughs) Actually, Tommy Lee Jones told me about this; I remember I was talking to him, and he told me that in Texas they have these wild pigs called javalinas which actually communicate with their teeth. So I did a little bit of research, and so that became a pretty important part. I figured it might be neat to have all the rhythmic parts derived from these jawbones, or these teeth gnashing together; so when we recorded in London, that was something I focused on.
BLD: Sometimes a film falls into one particular genre, but the composer approaches it with a different angle. (For instance, Christopher Young scored the original HELLRAISER as a twisted romance). How did you approach WORLD WAR Z?
MB: From these melodic and rhythmic approaches, everything else could be derived. At heart it’s very simple. One of the challenges on it was that there was this idea of the intimate versus the epic. There was the thought that, on one hand, the score should be a biblical, sweeping score, and on the other hand, it’s something much smaller, where you hear the rosin on the bow kind of thing, to give it that urgency and immediacy, and aggressiveness.
So this was the first time I had ever done this, but I actually recorded the score two different ways, in two different studios, one at Abbey Road, which was a bigger group, and simultaneously we also recorded at a smaller place called British Grove, and there we were able to experiment a little bit more with the sounds, and the more aggressive sound of the orchestra. The sound engineer, John Kurlander, was then able to mix all the elements together, and take advantage of both the smaller and the bigger scores and mix them together in a neat way. So that was, at least for me, a greater approach, this idea for the score.
WORLD WAR Z is in theaters everywhere now.
(END OF PART 1)
© Copyright 2013 by Barry Lee Dejasu