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A NOTE FROM MILES HANKINS | |||||||||||||||||
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We had worked with the director, Jonathan Levine, a few years ago on The Night Before. That starred Seth Rogen as well, so it was like getting the band back together. When Jonathan called about Long Shot, it made sense to bring us back under the same configuration. The way it works with Marco is that he’s very much involved in the writing and the creative oversight. In the case of Long Shot, I was fortunate to work on some themes, get them in front of Jonathan, and then run with it. Marco was there every step of the way to make sure it sounded like it should, and help Jonathan tell the story the way he wanted it told. Jonathan is a very collaborative storyteller as well. He cares deeply about the music, and doesn’t’ let anything slide. He’s focused on making sure we walked the line between the comedy and the sincerity of the personal story. That’s always a challenge to not get in the way of the story with our music. A comedy is particularly challenging because the one thing music can’t be is funny. You want to make sure we’re not turning it into pizzicato stings and clarinet lines if it doesn’t call for it. You don’t want to turn it into an episode of Tom and Jerry. In the case of Jonathan’s movies, there’s a lot songs and pop music, so the score has to have its own sonic identity so when we hear it we know we’re going to a different place. We decided there were three elements of music we aimed for. There’s the sincere love story which we wanted to play sweetly and honestly. Then there’s the guitars and upright bass and percussion played like an indie folk band. Lastly, there are themes which take us into a bunch of different settings – we have a sweeping Americana orchestral sound that we recorded with a 60-piece orchestra, and we have these big action set pieces where the music goes full tilt played like a straight up blockbuster movie just to have some fun with it. | |||||||||||||||||
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