For the past few days I’ve been in full-on composition mode—writing, recording, and editing the score to “I May Have Seen the Devil.” My director, coworker, and friend Alejandro has been very good about delivering advice and criticism, keeping me on track.
“In general, you can probably just assume that if it feels too slow it’s about 77% of the way to where it needs to be,” he told me recently. The metal musician in me always wants to get hevvy. Slowing my music down has been challenging, but I’m coming up with some awesome work, and I can’t wait to share it with our audiences.
Alejandro has a vision, and I aim to make it real. My style is going to permeate this thing, but that’s what you get when you hire a composer. This is a good thing. The best David Lynch movies are bolstered by the musical styles of Angelo Badalamenti. The best old-school “Final Fantasy” games and “Lost Odyssey” are made sweepingly beautiful by Nobuo Uematsu’s scoring techniques.
Alejandro wanted me to be his music guy for #IMHSTD, even though I’d never scored a play or motion picture. That kind of trust is invaluable. It’s my first foray into soundtrack work, so I really appreciate the opportunity. It’s golden. It opens up a window of new career prospects.
We’ve had a few musical meetings, and it’s helped because wrapping my head around this thing has been difficult. It’s Shakespeare, but it’s Alejandro’s warped retelling.
In one of our meetings, he mentioned that Hans Zimmer used an out-of-tune piano in scoring Man of Steel, and if I could do something like that, it would work well in a certain scene. So I searched around a little and came up with these YouTube videos utilizing that sound. I think it’s funny that this is the direction composing is taking me, at least for today. Enjoy.