I've been thinking a lot over the last week about influences. I, like all composers, frequently get asked about who influences me. It's a great question that allows someone to get to know you and your style of work. But I've been reflecting on how subconsciously the question is simplified in my mind to "who do you sound like" or "whose process inspires you", which is still a great question. But. The more I've been reflecting, the more I've realised I am also shaped by "sideways influences", people who I don't sound like but who have taught me something through their work. These can be negative as well as positive.
As an example, I have loved Randy Newman for a long time. His music was the soundtrack to my childhood and I will fight anyone who suggests he is not the greatest living composer for animated films (if not the greatest of all time). But as much as I love his work, we could not be more different in terms of style. Recently however, his music has taught me a very important lesson. I was listening to a tribute concert to him when the suite from Bugs Life came on. I hadn't listened to it in about 17 years, and it suddenly struck me that the harmony and orchestration wasn't the language of a "children's film"; it was the language of a Western. Newman was treating these ants like they're in the Magnificent Seven! This language is subtler at points in the overall score, but still underpins it throughout. Then I thought back about his songs, When Somebody Loved Me, and I Will Go Sailing No More (which is possibly the most underrated 40 seconds of score ever), and his scores for Monsters Inc and Toy Story. In each of those he treats the characters as if they were protagonists in a serious drama, regardless of whether they're ants or toys that have come to life.
It might seem like an obvious lesson, but it's not always easy to treat our characters with seriousness. Of course, there will be times when this may not be appropriate to do for various reasons. But clearly if we do when the opportunities are there, it gives a huge emotional depth and weight to the characters, regardless of the film's context. It's been so good to learn this important lesson from a composer I would never list in my direct influences. I've been reflecting on some other lessons from "sideways influences" too, but I'd love to hear if anyone else has any similar thoughts on composers that have had the same effect on them.
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Thank you! That's a great read!
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I love Newman's influence, especially in the early Pixar films, and his work on live-action films like The Natural, Marriage Story, Pleasantville and Seabiscuit are especially commendable. For his entire discography with Pixar, I usually remember Monster's, Inc. the best because of its propulsive movement, while still maintaining a fun overall tone to the proceedings.
I'm especially impressed with who Pixar chooses to compose their other films, ranging from Michael Giacchino (the score for Up was the theme of my wedding), to Thomas Newman, right to recent unlikely choices like Trent Reznor and Atticus Ross for Soul. Each score stands on their own as a unique, and in my case (being that I'm writing an animated feature spec at the moment), a major source of inspiration.
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For me the 'sideways' analogy could be extended to those composers who I have not studied specifically but who whose 'sound' and 'style' seem to permeate my scoring. The first that came to mind were the composers who scored the episodes of the series, "The Twilight Zone" - action in every episode conducive to a score. About 45 composers were used in the series. We know the two most famous - Jerry Goldsmith and Bernard Herrmann (who also wrote the original year 1 theme). But what about the scoring by Van Cleave or the compositions of the orchestrator and conductor - Fred Steiner, just to mention two more. My point here perhaps is that for me 'sideways' can pertaining to musical 'sounds', 'styles' or 'genres' - I am indirectly influenced by the musical tracks of the TV series in the 1955 to 1965 era.
James Welday For sure, all the Pixar scores are great, and they always hire really interesting composers. Very much looking forward to finally watching Soul and hearing what Reznor and Ross make of a Pixar movie.
Just as a side, does the idea of "sideways influences" from indirect places work for writers too?
Joel Irwin that's a really good point. A permeation of style is exactly the kind of thing I was thinking of, and Twilight Zone is a brilliant example. It's a compelling argument for composers listening as widely as possible and being sponge-like by soaking up all the influences we can.
James Dower With you on the Williams front, the man is a legend. He sounds he'd be more of a direct influence for you if his work inspires everything you do, which is great as you couldn't ask for a more brilliant composer to be inspired by!
That's interesting about your more sideways influences from other genres. That's the kind of thing I was talking about in the post, people you don't sound like but who have still affected your sound or output in some way. It's so good they've taught you to experiment more; after all, there are no wrong answers or silly ideas in composition, it's really just messing around with sound until something sounds good!