'The Super Mario Bros. Movie' composer Brian Tyler reveals how he integrated music from the games for the film.
One hundred and thirty. That’s the minimum number of references to the various “Mario”-branded video games thatWe’re not fact-checking him, but to get anywhere near that number requires a certain type of obsession and passion. Ask him about the music for “The Super Mario Bros. Movie,” and in seconds he’s connecting the game’s original composer, Koji Kondo, to John Williams’ work on “E.T.
“I was influenced by the fact that ‘E.T.’ and ‘Donkey Kong’ came out in the same era, at least as I was playing it as a little kid,” says Tyler, sitting in a basement home studio flanked by an assortment of keyboards, including one of his childhood synthesizers. “That’s what this is. I have that soaring, romantic big movie quality that I remember from that Steven Spielberg and John Williams stuff, but combined with this world of ‘Super Mario.
Miyamoto’s games such as “Donkey Kong” and “Super Mario Bros.” were formative texts for Tyler when he was younger, he says. The artist, who tours as an electronic musician and whose credits include the “Fast & Furious” franchise, “Crazy Rich Asians” and “Thor: The Dark World,” was discovering those early Nintendo works the same time he was falling in love with film scores, particularly those from Williams.
Kondo says his primary influence was the images created by Miyamoto. He wanted a sound that matched the cheery world Mario traverses, one where plants chomp, mushroom-like creatures wobble and one can periodically gain the ability to toss fireballs. As difficult as “Super Mario Bros.” can be, Kondo’s score is rarely less than uplifting, prodding the player along and attempting to match sound to color. It took multiple passes to get it right.
Kondo’s music encourages player movement. When Mario gets a certain power-up, the tempo increases, encouraging fans to make the most of momentary indestructibility. When time is running out, the music gets anxiously hurried, so much so that players are likely to make some mistakes. And when levels advance and get darker and go underground, the music — a spacious, slap bass sound — gets more patient, prodding players to be more careful in their timing.
“It’s interesting because Kondo was doing his version of Americana,” Tyler says. “It’s jazzy, big-band swing on 8-bit. Talking to him, and the limitations of that were just insane. The notes were short. It had such flair and personality. I would hear the music, and my brain would automatically do them in different styles.”Thirty years ago a plump little plumber in red overalls revolutionized gaming.
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