What kind of input did Jane have during the process? How did you share ideas? I recorded hours of this stuff – poor Jane had to hear quite a lot of it. This became really useful for the character of Rose: Not only is her story wrapped up in the instrument, but it was also a good texture for her gradual mental unraveling. I also have a tuning wrench, so you can slide the pitch of the notes whilst it’s playing. It made more sense than trying to use notation.
#One dog story ost software
So I wrote some software in Max/MSP to emulate the paper-roll that would normally drive one of these. It’s real and mechanical, but computer-controlled.
Tell me about the “mechanical piano” – did you actually have one? (I can never tell what’s real or sampled these days.) That was a really fun day – we recorded them in a big church in Oxford, with the intention that reverb in the church would be the third instrument.
So I hired a couple of French horn players and wrote some duets for them. It’s funny, I was more inspired by the ’60s “Star Trek” scenes which, in my memory at least, had lots of atonal brass. When Peter does venture into the mountains and desert, it’s an alien, forbidding landscape. I wanted to avoid the trope of sweeping strings to accompanying sweeping landscapes. This is a Western, yet you didn’t opt for a big “Western” score? Why? And makes him more threatening a presence too. It’s a nice break from the traditional portrait of the cowboy. Yes, he’s fiercely bright, as well as… just fierce: not just an enthusiastic castrator of cows, but, you feel, a cultured, well-read person too. Talk about what you needed to do specifically for him. Phil (Cumberbatch’s character) in particular is a very complicated man. I guess the detuned piano material fitted Rose so well that it became a kind of theme… but only by accident. Rather, I write to the situations, or tone of the film, or the look and color of it. I’ve never really consciously thought of scores like this. Did each need his/her own sound or motif? They’re all such different personalities. There are four key characters here: Phil, his brother George, Rose and her son Peter. It’s sort of awful, isn’t it? With respect to Strauss Sr. It was fun to have to find a bad, but memorable and famous, piece of music that could be played as a piano/banjo duet. They were listening to some of the solo cello things on set – perhaps that had some effect? – but I’m more proud of coming up with the suggestion to use “Radetzky March” in that key scene. Really, the only ideas in that first email I got right (or, at any rate, stuck to) were the mechanical piano and the French horn.ĭid you start before, or during, shooting? And if so, did you write anything that might have been played on set? It’s too easy to see cowboys and think it’s 1870. I sent her photos of 1920s drum kits, and wanted to try and emphasize that this was a modern Western – the ’20s aren’t long out of living memory, so I was obsessed with the music feeling contemporary.
What were your own ideas? Can you talk about your overall plan for the music and what function it could perform? And she highlighted the key emotional moments of the film to focus on. She was a bit dazed by my first rambling emails, I think, but helped me focus on the more promising ideas. Lots of emails, lots of talking.ĭid she have specific ideas about what the score should say or do? It was a very happy and creative time because of that. Even a wet nose can’t fix this broken heart, but some harmonica and a lot of dog wails will get you through the long night.Ī dude named Cat writing a song about his love of dogs? Who said these supposed mortal enemies couldn’t be lifelong friends? Romantic love can fade, but pet love is forever.Greenwood: She did the thing of taking me on, telling me she trusted me, and attacking me with enthusiasm for the ideas that worked, and nearly – but not quite – the same enthusiasm for the ones that didn’t. Pink Floyd plays the Delta blues on this howling tune. Dogs can’t live forever, but the love we feel for our pets lasts forever.
Neil Young is the master of folk rock, and good folk musicians keep a dog around for inspiration and companionship. We’re going to crown this the most well composed song about a dog. Martha was actually the famous Beatles’ sheepdog. No, Martha is not a romantic interest of Paul McCartney. The dogs aren’t dogs, they’re ugly women. If a person attends a wedding and Baha Men’s 2000 hit doesn’t play, did anyone actually get married? This cheesy party favorite is actually pretty rude.
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