Scoring Horror: Interview with MARCO BELTRAMI (Part 2 of 2)
Scoring Horror Presents:
An Interview with MARCO BELTRAMI
By Barry Lee Dejasu
(Part 2 of 2)
Part Two: THE WOLVERINE
Directed by James Mangold (with whom Mr. Beltrami worked on 3:10 TO YUMA), THE WOLVERINE stars Hugh Jackman as the eponymous character, a metal-clawed (and indestructible) mutant of the X-MEN franchise, left wandering the world alone in the wake of the events of X-MEN: THE LAST STAND (2006). Logan’s travels take him to Japan—where his own mysterious past comes back to haunt him in ways that could challenge his whole future.
BLD: Superman, Indiana Jones, and many other staple cinematic heroes have a central musical theme—something to identify them with as soon as it’s heard. How did you approach the character of Wolverine, in these regards?
MB: THE WOLVERINE is a very unique take on the superhero movie. In that respect, it’s a very stylized picture. Most of it takes place in Japan, and there’s a little bit of a mystery to it, almost a noir-ish mystery to it; the character Wolverine is a bit of a loner. Having said that, there is a sound and melodic structure and harmonic structure that is used for him, but it’s not like a Superman type of theme; it’s much more reserved. I used early on when you see him, in the woods, (a) harmonica. The harmonica has a fairly strong thread throughout the score, as Wolverine’s sound. Sometimes it’s processed and treated, other times it’s fairly straight, but it seems to work well for him, and it goes well with the harmonic structure that’s used for him.
BLD: The fact that the movie is set in Japan immediately puts into mind, of many a typical American moviegoer, images of exotic locale and culture.
MB: Things that we consciously avoided, musically. I think the last thing that Jim (James Mangold) and I wanted to do was Japanese music associated with Japanese places. There’s a reference; I do use Japanese instruments, (but) not really in a traditional way; koto is used, but as a percussion instrument.
There’s Japanese flute stuff, but it’s treated in more of a Western way; it’s not really based on any pentatonic scales. There’s echo tunnel drumming that takes place in there, but often times it’s processed, and different effects are put on it; so it’s nothing really traditionally Japanese as part of the score.
BLD: How was it to work on this (particularly unique) superhero movie?
MB: It was really refreshing. It really went smooth. Jim was really into the stuff; he’s very musical, and had really interesting comments and ideas that would spur me, creatively, in different ways. It was a lot of fun. Again, it was a short schedule; we started on it…it doesn’t seem that long ago, but it was sort of fast, and there was a lot of music in it. It goes off in a lot of different directions. The ride goes from the woods of the Pacific Northwest to part of urban Japan. It’s a really fun movie to watch.
Part Three: In Closing
BLD: In what portion of a movie’s production do you usually come aboard?
MB: It’s different in every project. This, THE WOLVERINE, was all shot except for a couple of pickup shots, and I had a full edit. The next movie I’m doing, which is called THE HOMESMAN, a Tommy Lee Jones project, they’re just finishing shooting right now, and we’ll start talking about stuff (in the) next week. It can be early in the process, which I like, because it gives time to think about a new way to approach things. There’s a certain time factor; if you rush what you’re doing in too short a time, it can handicap the process of exploration. Coming on a little bit earlier is a bit better. Although, having said that, I don’t like working from scripts; if someone sends me a script, I usually don’t start working right away, because it’s really deceiving. I’ve tried that in the past, and stuff that I’d come up with invariably (had) nothing to do with the movie that was shot. It changes dramatically.
BLD: What particular (or non-particular) movies would you most want to work on, if you had the opportunity?
MB: The movies most influential to me are probably the (ones) scored by Bernard Hermann—you know, the Hitchcock stuff; the spaghetti westerns (scored by Ennio) Morricone, and the Fellini movies by Nino Rota. And to some extent, I’ve been able to do some Western stuff, which I really enjoy doing. Just…the way Morricone was able to make non-orchestral sounds part of the score, that really inspired me. Similarly, the Rota scores, the music doesn’t take itself seriously, and it skipped genres, and plays with a lot of different colors. There are some I haven’t done much of yet, but are something that would be very appealing to me. They don’t make movies like that now, but if there were, I think that’s what I’d be most excited about.
BLD: Is there anything else you’d like to add?
MB: You know, maybe, I feel fortunate that I’ve been able to work in a variety of genres, and I’ve had a lot of fun exploring musically. The worst thing to me would be to keep repeating things over and over, and (to) repeat the work of other people. To explore other areas is what I find interesting about film scoring, and I hope that I can continue to be able to do so.
THE WOLVERINE opens on July 26th.
© Copyright 2013 by Barry Lee Dejasu