Warning: Some minor SPOILERS for Spider-Man: Across the Spider-VerseSpider-Man: Across the Spider-Verse is just days away from release. As indicated by early reviews, the impossibly high expectations set by the Oscar-winning first movie are being met and exceeded, earning comparisons to Star Wars: Episode V – The Empire Strikes Back as the rare sequel that is darker, more mature, and ultimately better than the original.
I guess it's, like — I don't know how to describe it — postmodern film music; film music that comes through a filter of the last hundred years of culture in the same way that the artwork is. If you look at traditional "film music", those traditionals are grand classical pieces. I've grown up surrounded by hip-hop, techno, rock, classical, jazz, experimental music, avant-garde music, and all those influences are in this score.
With this film bringing in so many different Spider-People and going to so many places, how do you approach writing toward each unique identity? I'm so glad you brought up the opera singer; I was about to reference that. Because it seems like you got to go to so many places with this score, was there anything you were really excited to try with a particular cue?
You're not trying to do traditional orchestral writing; you're trying to kind of create your own orchestra of all these disparate sounds that have strengths and weaknesses, and work out, "How do I get the element of weight or lightness or suspense out of these different sounds?" When you do that, you do end up creating something that hopefully feels more unique. It's so much more time-consuming and it's so exhausting, but hopefully, it's worth it.
So, I'm working alongside them really closely all the way through the movie. It got to the stage where I literally had to move from England to LA and work in a very unglamorous office on the Sony lot, like, two doors down from the edit, so every now and again they could stick their head around the door and be like, "Can you do this? Now." This film has probably been the most intense film I've ever worked on.
That means you get a very deep score. A lot of that stuff you almost don't even notice or even hear in the end. Sometimes I'm like, "Why did I spend so long on a hi-hat sound which you can hardly hear?" I'm not joking. We'd do a hi-hat pass, and I'd be like, "Okay, let's re-accent this here, and do this. Let's make this bit work bigger. Let's do more of a crescendo," and then there are, like, 27 different layers of stuff on top of it.
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