![]() ![]() Williams: The film is set in the 1960s, and Phoebe inspired me to recall the movie sirens of the ’30s and ’40s such as Lauren Bacall and Lana Turner. Their performances were simply so good that I couldn’t resist. John Williams: When I saw the film, I loved both Harrison and Phoebe so much that I became proprietary and didn’t want anybody else to write music for them. What made you change your mind and do the entire film? You previously said you may just do the movie’s themes. Williams, who lands his 54th total Oscar nomination, scored the fifth and last installment of the Indiana Jones series and will be vying for his sixth Oscar. It flowed out of the piano into my hands and back out again. I was improvising and came up with the “Family Theme.” For sure, my dad came through that thing. Karpman: It was the first time I played the piano since it had been restored. The score, including the two main themes, “Monk’s Theme” and “Family Theme,” was composed on your father’s newly restored piano, which you had just gotten back that day. ![]() Let’s use a flute as one of the lead instruments in American Fiction.” Karpman: There’s a really amazing young, Elena Pinderhughes, and I had the idea of using her for the sound of the villain in The Marvels and I thought, “How perfect. You were scoring The Marvels at the same time. It’s not just that it was “Monk.” It felt like the right vibe in terms of the rhythms of the action. There’s something jazzy about the interplay between the cast members. Laura Karpman: It was a mandate because of the obvious reference to Monk, but it goes deeper than that. Was it a given that the score would be jazz-oriented since Jeffrey Wright’s character is named Thelonious and nicknamed “Monk”? Within three to four days, he had it finished, and we got it submitted in time. And I just happen to know a person that took that on several years back as part of his education … And so he used that recorder that you got to take home in elementary school to find all the notes and write it all out. But one of the submission requirements was that it would be in a written form. What was the biggest challenge throughout this process? So our intention was to create something that they could use in a movie, but we could also use later to honor our people in celebration. ![]() Because that, to us, felt like a death sentence. Scott George: That’s kind of why we made. You’ve said your life is defined by music. George has already made history, becoming the first Native American to land an Oscar nomination for best original song with the Osage Tribal Singers for “Wahzhazhe,” a celebratory song that soundtracks the film’s final scene. They had some pretty big movies - The Little Mermaid and Wish - that they spent a lot of money on. It was the only Disney song that got through. Even with this song, I kind of did this on my own. Maybe it’s weird for some people to see me as that, but I have to fight for a lot of stuff. Warren: I am always the little underdog, which I love. Of your 15 nominated songs, 10 - including this one - scored the film’s only nomination. This is kind of my theme song, too, I have to say. As I was writing it, I’m thinking, “I’m like that, too.” I’m the person always having to convince people and fight for what I believe in. But that “fire inside” can also refer to inner drive, something Warren has in abundance.ĭiane Warren: The song’s really about passion. On one level, it refers to the burning sensation one would get from eating too many Flamin’ Hot Cheetos (the snack food concocted by the movie’s subject, Richard Montañez). The title of Warren’s latest Oscar contender - her seventh in a row - can be interpreted two ways. Music and lyrics by Billie Eilish, FINNEAS I like to have a mirror - I felt that collaboration space would be sacred.ĭan, Jon obviously felt you were a kindred spirit.ĭan Wilson: When “Closing Time” was coming out, my first daughter was in the hospital the entire year … I felt I could understand what it’s like to have your most glorious musical successes accompanied by personal difficulty. Why did you bring in Dan Wilson to co-write?īatiste: His ability to sit with artists in their most personal and vulnerable moments and not usurp or influence the authenticity of the expression. One of the themes of our relationship is creativity as an act of survival. They were never meant to be released publicly. These lullabies were meant for her to go to sleep easier and have peace in the hospital. She is a best-selling author and couldn’t put pen to paper because the medication blurred her vision badly, so she began to paint and I began to write lullabies. ![]()
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