Hello all. This is my first blog regarding the score to Harper's Globe. Matt Seigel, producer/nice guy encouraged me to write one. I don't want to give any clues away or lead people down the incorrect path, so I will stick to a couple facts that you may find interesting at the very least. In any case, I will say that like all elements of Harper’s Globe, the score was very thought out and carefully constructed with inspiration, perspiration, and a hint of decapitation. I hope you enjoy...
History: Kevin Schlanser, the DP of Harper’s Globe, suggested me for the project originally. We had worked together on a previous film and I was brought in for a meeting with Music Supervisor Seth Jacobs, producer Matt Seigel, and, of course, director, Tony Valenzuela. Now, let me stress this was a very unique meeting that involved talking about feel, color, ambience, and tone more than specific music or examples. In fact, to Tony and Seth’s credit, they purposely kept me from hearing anything that might compromise what my original ideas and/or intuition might be. This turned out to be a VERY good thing as the score became an experiment in film composing that would not have worked had they been set on a specific genre.
From the very beginning, we agreed on a combination of acoustic instruments, synthesized elements, and a third musical character that would be best classified as “strange, weirdness, that you can’t quite put your finger on, but messes with your brain and makes you think of digital clicks, pops, and malfunctions until you feel rather uneasy and are not sure why.” Fine, all this was good, except many of these elements did not exist. Therefore, I spent about three weeks recording a variety of manipulated sounds ranging from tapping on metal shards to feeding back a guitar amp into another guitar amp. The irony is that all of this work was done to provide a tiny (yet essential) extra element to the score that would create that “off-kilter” feel. And obviously, as you have all seen by now, there are some very surreal, unsettling scenes that needed way more than just a traditional horror sting.
Themes: As for themes, there are several. I have to be a bit careful here not to give away too much, but I will reveal that there is a definite theme for Robin (as well as a Robin Mystery Theme), one for the Cheshire Cat, and of course, who could resist writing a Dangerous Wreck theme. Here are some characteristics to listen for:
Robin’s Theme: Is characterized by a rather melancholy melody in the piano and vibraphone that conveys her frequent loneliness and her curious past. There are dark aspects to it as well, but there is always an air of innocence. But I must say, it is not Forrest Gump innocence, it is more akin to the final stages of innocence before the unfolding events in her life begin to chew away at it. This music comes in frequently during her blogs and especially when she is alone and pensive.
The Cheshire Cat Theme: This is first theme I wrote and it was one of the hardest as it set the basic tone and pallet for the entire score. The most prominent elements are the harp, piano and the background elements which include digital weirdness, tibetan bells, thai gongs, and some very odd percussion. The goal here was to create a sense of mystery, not horror while simultaneously alluding to our ever-evolving digital online world. The piece is in 6/8 time (traditionally a waltz feel) in order to give the subtle allusion of him dancing around and toying with his subjects. Listening to this with headphones is an experience in itself. Sounds pan all over the place creating this strange world he lives in.
Dangerous Wreck Theme: This is definitely one of my favorites...it is just so demented and disturbing. Again, another one to listen to with headphones. There are so many subtle elements in here including: very low harp and whale drum (a metallic percussive instrument that looks like a giant toxic waste tank). I even included the sounds of fire (literally) and the weirdest guitar work I have ever done. The theme, heard in its entirety, is one giant build that climaxes with a wall of percussive hits. I will give nothing away other than I tried to mimic the overall story arc of Harper’s Globe.
Well, I think that is certainly enough to get you started. All of these themes, plus a couple others, will be available shortly on the imeem player (I’ll let you know when it is up). I hope you enjoy them as much as I enjoyed writing them. I must say, I really lucked out working on this project. I can’t remember another time I have been so encouraged to experiment and push the boundaries on a score by everyone involved. But, there is still more to come... :)