With the score for his biggest film to date, Heller’s approach was informed by Rogers’ unique musicality, manifest both in the icon’s personal life and on his show. “Johnny Costa came from this school of jazz called stride piano, where these players could take chord progressions and do these big runs, from the bottom of the keys all the way to the top, without missing a beat.
Our first task was like, “Okay, let’s look at show footage from 1997, and try and hone in on the versions of these songs that we’re doing from Fred’s world, and figure out how to recreate them faithfully.” And that was illuminating because just watching from show to show, you noticed that the band is performing the main title song completely differently every time, because they’re such accomplished improvisational musicians.
So, that was a fun process of finding, “How do we make a through line between the sweet, innocent world of Fred’s music and this darker world of a tortured journalist? How do we make them play together?” I think we found a pretty neat medium by retaining the jazz feel, and little bits of the Mister Rogers melodies that you would recognize, and twisting or contorting them, depending on the scene.
So, I’m hoping we were able to capture the spirit of people in a room playing music together, and having something magical happen at the moment. Even though we had to fake it here or there, I think we still managed to pull it off in the same spirit.
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