The bonding flowed from there. “As a person who was really a novice, having a director who was also doing it for the first time was awesome,” O’Connell says. “I felt like there were no preconceptions. It was really fun.”
“In an era of every reboot of every franchise simultaneously and so many sequels, I remember reading it and thinking, ‘I can’t compare this script to some other movie that follows the same template,’” he says. “It felt really unique, and I thought on a musical level it’s got to feel as unique as the movie does.”
“A big thing B.J. and I talked about is, it’s a movie about a cynical person who’s lived one type of life who gradually buys more and more into the sincerity of this thing that he was initially like, ‘I’m going to make fun of this and make a cynical podcast out of it,’” O’Connell says. “Without being over-the-top, absolutely the thing we were trying to do with the score was to take that journey with that one character going from a cynical, hesitant place to all the way across the river.
O’Connell wrote the majority of the score to picture, a scenario he describes as a “treat” because he could fully dive into the cadence, the dialog and the scenes.
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