Nicholas Britell, Kathryn Bostic, Michael Abels, Hildur Gudnadóttir, Alberto Iglesias and Alexandre Desplat talk the biggest musical challenges they faced, why composing for film is more like being a nurse than a doctor and more on the Composer Roundtable
— the magic of composing is secondary when you have a deadline to meet: "I just do my job." The composers came together Oct. 25 to discuss how they fell in love with music, the biggest musical challenges they faced during the past year and why composing for film is more like being a nurse than a doctor.I started playing piano when I was 3. My mother was a classical pianist and composer and also a wonderful singer, and she would play for hours.
What was the biggest hurdle you had to get over on the projects you worked on this year? Was there an "aha" moment? Do moments like that even happen?is actually one of these projects that I didn't have a lot of hurdles. It was such a beautiful collaboration, that also started very early on. I started writing the music just after reading the script. So I started writing the music long before they started shooting.
Is avoiding cliches a concern, especially when working within a genre? Michael, is that something you're aware of when working on a horror film likeIt's more about "What am I trying to say?" Jordan [Peele] really loves music that sets most people on edge. That lights him up. So I know I am being invited to just do crazy things. I am writing in an environment where that's going to be applauded and accepted. I get to have this fun sandbox to build it in.
What if you're not working with that kind of freedom? What if you're in a situation where it's less positive or encouraging?I've been pretty lucky to work with directors who were quite influenced by Eurowpean cinema. So they were open to different ideas. I think [a bad situation] has happened once. But it did not occur before I went to the theater and I watched the film. Before that, everything was fine. And then I saw the film and there was no music.
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