AVC: When you’re composing the score to a film that’s based on an existing property, like Dark Shadows, do you go ever back and listen to the music from the original in search of inspiration?
DE: Well, interestingly, this is the first time we have done that. Because on Planet Of The Apes and Charlie [And The Chocolate Factory] and Batman, we made a conscious decision to make no references—ever—to the originals, that they should be their own thing and that we shouldn’t even listen to it. But here, this was different. Tim really did like the tone of the music to the TV show, and he got me listening to it. So half the score is kind of big, melodramatic orchestra, and… We didn’t really know how to approach it at first, but it finally kind of evolved into this clear design where, when we’re in the big part of the love story in the past and how Barnabas became a vampire and his battle with Angelique, we’re using the orchestra in a more or less traditional way. But whenever he’s with the family in the house, we’re going to use an ensemble that’s very much like the ensemble might have been in 1970. A very, very small orchestra, mostly just three solo instruments: a bass clarinet, bass flute, and vibes. And the vibes and the flute very much are taken and inspired from the original TV music. Furthermore, there were these riffs that they did that I really liked, so I did pull some music from the TV show into the score, and Bob Cobert, the writer for that, is credited in the cue sheets for those moments where it kind of becomes a co-composition. So it really was unique. The only time in 75 films or whatever that I’ve ever paid attention to the music of the past was Mission: Impossible, because I knew I was going to use Lalo Schifrin’s song, and Dark Shadows. And it wasn’t a specific piece. It was just a tone, a sound, that we both really liked. So that did make it kind of more fun and special in that way.Baca lengkapnya di sini.