{"id":7631,"date":"2020-08-12T15:00:59","date_gmt":"2020-08-12T22:00:59","guid":{"rendered":"http:\/\/www.afm47.org\/press\/?p=7631"},"modified":"2024-03-13T09:54:39","modified_gmt":"2024-03-13T16:54:39","slug":"unsettling-the-score-interview-with-composer-nathaniel-blume","status":"publish","type":"post","link":"https:\/\/afm47.org\/press\/unsettling-the-score-interview-with-composer-nathaniel-blume\/","title":{"rendered":"Unsettling the Score: Interview with composer Nathaniel Blume"},"content":{"rendered":"<p><iframe loading=\"lazy\"  id=\"_ytid_91954\"  width=\"625\" height=\"352\"  data-origwidth=\"625\" data-origheight=\"352\" src=\"https:\/\/www.youtube.com\/embed\/-6rGJDJ9C3E?enablejsapi=1&#038;autoplay=0&#038;cc_load_policy=0&#038;cc_lang_pref=&#038;iv_load_policy=1&#038;loop=0&#038;rel=1&#038;fs=1&#038;playsinline=0&#038;autohide=2&#038;theme=dark&#038;color=red&#038;controls=1&#038;disablekb=0&#038;\" class=\"__youtube_prefs__  epyt-is-override  no-lazyload\" title=\"YouTube player\"  allow=\"fullscreen; accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen data-no-lazy=\"1\" data-skipgform_ajax_framebjll=\"\"><\/iframe><\/p>\n<h2 class=\"p3\"><span class=\"s3\">How fraught familial drama and steely surgical tools inspired Nathaniel Blume\u2019s <\/span><span class=\"s3\">killer soundtrack for \u2018Prodigal Son\u2019<\/span><\/h2>\n<p class=\"p4\"><span class=\"s2\"><i>by Max Weinstein<\/i><\/span><\/p>\n<p class=\"p4\"><span class=\"s2\">To say that stories about serial killers enjoy a permanent residency in popular imagination would be to state the obvious. The challenge, now, isn\u2019t for stories about psychopaths to draw an audience, but to offer a fresh take on a subject done to death.<\/span><\/p>\n<p class=\"p4\"><span class=\"s2\">Composer Nathaniel Blume says that \u201cProdigal Son\u201d \u2014 the Fox crime drama he recently scored\u2014meets that challenge by putting family first. The series follows Malcolm Bright (Tom Payne), an ex-FBI profiler whose relationship with his father, serial killer Dr. Martin Whitly (Michael Sheen), gives him unique insight into murderers\u2019 motives. Blume, whose credits include \u201cArrow\u201d and \u201cThe Flash,\u201d approached \u201cProdigal Son\u201d by focusing more on its characters\u2019 blood ties than on the blood itself. <\/span><!--more--><\/p>\n<p class=\"p4\"><span class=\"s2\">\u201cMy score revolves around the main theme of \u2018family\u2019\u2026 in fact, the vast majority of the soundtrack includes some reference to that main theme,\u201d Blume explains. His music for \u201cProdigal Son\u201d amplifies the intensity of Malcolm\u2019s personal and professional crises, milking tension with cacophonous strings and telegraphing trauma with chilly piano melodies. Characters\u2019 past demons inspired his instruments of choice, too: The score is at its most inventive when it\u2019s incorporating the sounds of actual surgical tools into the mix \u2014 a sly nod to Martin\u2019s criminal moniker, \u201cThe Surgeon.\u201d<\/span><\/p>\n<p class=\"p4\"><span class=\"s2\">Despite the COVID-19 pandemic\u2019s grip on a flailing entertainment industry, Blume has kept plenty busy and earned some recent accolades along the way. In April, he was named one of Variety\u2019s \u201c10 Composers to Watch,\u201d and he\u2019s already gearing up for a just-announced second season of \u201cProdigal Son.\u201d And though he had to do it under quarantine, he had the rare pleasure of recording the music for the show\u2019s season one finale with one of the show\u2019s stars, Dermot Mulroney. (Like Blume, Mulroney is a card-carrying member of AFM Local 47, so once the actor joined the cast, Blume knew he wouldn\u2019t have to look far to find a consummate cellist.)<\/span><\/p>\n<p class=\"p4\"><span class=\"s2\">We spoke with Blume about scoring \u201cProdigal Son,\u201d getting around the obstacles of recording remotely, what he\u2019s learned thus far from his career as a composer.<\/span><\/p>\n<p class=\"p4\"><span class=\"s2\"><b>In every series, there are certain core themes that shape the tone of the material. What were some of the themes you identified in the first season of \u201cProdigal Son\u201d and how did they inform your approach to composing for the show?<\/b><\/span><\/p>\n<p class=\"p4\"><span class=\"s2\">\u201cMy score essentially revolves around the main theme of \u2018family\u2019 that\u2019s introduced within the first two minutes of the show. That concept originated right after I\u2019d read the script for the first time and before I\u2019d seen a frame of footage. In fact, the vast majority of pieces on the soundtrack include some sort of reference to that main theme. <\/span><\/p>\n<p class=\"p4\"><span class=\"s2\">\u201c\u2019I Deserve the Pain\u2019 is, fittingly, a more sad and painful variation of the \u2018family\u2019 theme, when Malcolm Bright reveals his identity to the copycat killer in the pilot. One of my favorite cues from one of my favorite episodes is \u201cUncuffed.\u201d It starts with some strange and uncomfortable harmonies as members of law enforcement realize they\u2019re going to have to remove Martin Whitly\u2019s handcuffs in order to let him save a person\u2019s life. The music releases the tension of that scene with a statement of the main theme when Martin is released from his restraints. <\/span><\/p>\n<p class=\"p4\"><span class=\"s2\">\u201cYou\u2019ll also hear a three-note snippet of the \u2018family\u2019 theme in \u2018A Beta to My Father\u2019s Alpha.\u2019 That motif is used quite a bit throughout the first season, specifically with respect to Martin and his evil dealings. <\/span><\/p>\n<p class=\"p4\"><span class=\"s2\">\u201cThe most fun I had with the \u2018family\u2019 theme is in \u2018I\u2019d Appreciate Some Guidelines,\u2019 where it\u2019s presented as a kind of strange waltz. The scene involves Malcolm in a dance of sorts: He\u2019s interrogating a member of a sex cult who thinks he\u2019s being questioned for a more obvious reason.<\/span><\/p>\n<p class=\"p4\"><span class=\"s2\">\u201cThere are other themes and motifs, but that main theme, overtly or not, is really the foundation of the score from which numerous variations and re-orchestrations sprout throughout the first season.\u201d<\/span><\/p>\n<p class=\"p4\"><span class=\"s2\"><b>And now the show\u2019s been picked up for a second season\u2026<\/b><\/span><\/p>\n<p class=\"p4\"><span class=\"s2\">\u201cAnyone who has seen the show knows that the family dynamic is about to take a dark and twisted turn. So when it comes to the second season, that will have to be considered when presenting the show\u2019s established \u2018family\u2019 theme in new ways, and when I start to come up with new sounds. I do have some other ideas, but the story is really going to dictate if and how those ideas get implemented.\u201d<\/span><\/p>\n<p class=\"p4\"><span class=\"s2\"><b>Much has been made of your use of surgical tools to incorporate their unique sounds into the \u201cProdigal Son\u201d score. Walk me through that process. How did you find the instruments you used? And once you found the right tools, what were the challenges of integrating them into the score?<\/b><\/span><\/p>\n<p class=\"p4\"><span class=\"s2\">\u201cIt still feels wrong\u2014almost as if I got away with something I shouldn\u2019t have\u2014but the process started with a visit to eBay, where I simply searched for \u201csurgical tools.\u201d That search pulled up quite a few things, but the first that really caught my eye was a listing for a \u2018minor surgery tool kit.\u2019 The kit contained a lot of what you might expect: a scalpel, tweezers, scissors, gauze, etc. So, I bought that first. What wasn\u2019t so obvious in that eBay search was a bone cutter. Now, don\u2019t ask me what the practical use for a bone cutter is when performing surgery, because I can\u2019t tell you. All I can say is that it was marked as \u2018new\u2019 and not \u2018used,\u2019 so I felt better about purchasing it. <\/span><\/p>\n<p class=\"p4\"><span class=\"s2\">\u201cAfter acquiring the tools, I got to the studio with some members of my music team and recorded all kinds of sounds. We cut gauze with scissors; dropped the tools in metal bowls (surgeons do that, right? I don\u2019t know, I\u2019ve seen it on TV); a big plastic tarp doubled as a body bag; and we snapped dry chicken bones with the bone cutters. We then chopped all of these sounds up (no pun intended) into audio bits and made virtual software instruments with them \u2014 that is, the sounds were playable on my keyboard as a percussion kit of sorts.\u201d<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\"><b>What kind of challenges did you face as you integrated those sounds into the score?<\/b><\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">\u201cThe trial and error part of the process presented itself in how often each set of sounds was used. The ones that worked well in the score were the ones I\u2019d keep coming back to, and the ones didn\u2019t work as well maybe never even made it into a single cue. As you might imagine, if you rely too much on a \u2018sound effect\u2019 element in the music, then you can potentially run into problems with the on-screen action. For instance, if I used the bone snaps in the music that accompanies a crime scene, the audience might mistakenly think the corpse\u2019s bones were cracking. So, the library of surgical tools couldn\u2019t just be thrown all over the score for fun. Careful consideration had to be taken in its application.\u201d<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\"><b>Obviously, working in the throes of the COVID-19 pandemic must have brought about a number of logistical challenges to the process. If you could poll the musicians who worked with you on \u201cProdigal Son,\u201d what would you guess the most common complaints they\u2019d have about collaborating remotely would be?<\/b><\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">\u201cWell, to start with a positive, there was absolutely no Los Angeles traffic for anybody to fight during the at-home recording process. In all seriousness, though, I\u2019ve been saying that everything takes three times as long since the pandemic started. Whether that\u2019s concerning grocery shopping, getting something from the store, or trying to do your job, everything just takes longer.&nbsp;<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">\u201cSo, I\u2019d imagine that\u2019s the biggest complaint from the musicians. What they saved in traffic not having to drive to the recording studio was probably more than made up for in having to act as their own recording engineers. They have to set up their own microphones, receive and set up files for each cue, hit record and stop, and organize their audio to send back to me. That\u2019s why my assistant and I tried to do as much of the hard work as possible before sending files to the musicians. But even then, we can only do so much and a lot is left on the musicians\u2019 plates.\u201d<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\"><b>Did working remotely make it harder to improvise or make any sudden changes to your written music? <\/b><\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">\u201cOn-the-spot creative decisions were extremely difficult because of the way we bounced files back and forth. However, we had the advantage of working remotely at the end of the season rather than the start of the season. So, for each of the musicians involved, we had already recorded numerous episodes together on a big recording stage. They knew the vibe of the score as well as I did, and if there was anything specific that I wanted to convey to them, it would either be communicated through an email or notated on the score for them to see. <\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">\u201cMy biggest takeaway is that while it wasn\u2019t ideal, it was absolutely worth every extra hour that the process required. You think of the musicians as being really good at their instruments \u2014 and they are, of course \u2014 but you may not think about how technically savvy a lot of them are. But they are: They watch this being done all the time and they\u2019re paying attention. They can send you back some great-sounding recordings, and with the help of my world class music mixer, Jason LaRocca, you\u2019d never know we weren\u2019t all in the same room together. If you have the budget and you\u2019re ready to take on the extra workload, I\u2019d unflinchingly tell any composer to take that opportunity every time.\u201d<\/span><\/p>\n<div id=\"attachment_7669\" style=\"width: 635px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-7669\" class=\"size-large wp-image-7669\" src=\"https:\/\/afm47.org\/press\/wp-content\/uploads\/2020\/08\/073A5509-683x1024.jpg\" alt=\"\" width=\"625\" height=\"937\" srcset=\"https:\/\/afm47.org\/press\/wp-content\/uploads\/2020\/08\/073A5509-683x1024.jpg 683w, https:\/\/afm47.org\/press\/wp-content\/uploads\/2020\/08\/073A5509-200x300.jpg 200w, https:\/\/afm47.org\/press\/wp-content\/uploads\/2020\/08\/073A5509-768x1152.jpg 768w, https:\/\/afm47.org\/press\/wp-content\/uploads\/2020\/08\/073A5509-624x936.jpg 624w, https:\/\/afm47.org\/press\/wp-content\/uploads\/2020\/08\/073A5509.jpg 1000w\" sizes=\"auto, (max-width: 625px) 100vw, 625px\" \/><p id=\"caption-attachment-7669\" class=\"wp-caption-text\">Blume on the scoring stage recording &#8220;Prodigal Son.&#8221;<\/p><\/div>\n<p class=\"p1\"><strong><span class=\"s1\">Dermot Mulroney, who plays cunning billionaire Nicholas Endicott in \u201cProdigal Son,\u201d also performed as a cellist for your score. Did Dermot\u2019s relationship to the material from the point of view of an actor inform his work with you on the music?<\/span><\/strong><\/p>\n<p class=\"p1\"><span class=\"s1\">\u201cWhen I heard Dermot was going to play a recurring character in the final episodes of the first season, I knew immediately that I was going to ask him to play on the score. What made it even more interesting was that he played against type from the romantic hunk we all think of when we hear his name. (We all think that, don\u2019t we?) <\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">\u201cDermot and I spoke on the phone before recording and I told him how excited I was to have him help color the darkness of his character.<span class=\"Apple-converted-space\">&nbsp; <\/span>He said something that stuck with me, which was that most of his character\u2019s deeds happen off-screen. While we know how evil his character is, we don\u2019t actually see him performing a lot of his dark deeds. So, I think our musical approach to his character works because it\u2019s sneaky and slimy like Nicholas Endicott. And it made it so much more fun that Dermot colored those musical elements with his own playing.\u201d<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\"><b>Your credits are quite eclectic and include a number of documentaries in both TV and film in addition to your work on fiction series and features. What are the most valuable lessons you\u2019ve learned from working on the highlight productions of your career thus far?<\/b><\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">\u201cSome lessons are hard to put into words. In any creative endeavor, experience plays a big part in how you successfully navigate the field. For a film composer, there\u2019s no lecture, book, or YouTube video that can teach you the idiosyncrasies of the business. You just have to experience it. In that regard, every project has taught me something about how I handle myself in a meeting or how one of my musical approaches is perceived by a producer. All of these things have to be observed and reflected upon in order to grow. <\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">\u201cSo, while a lot of my experiences have taught me something about myself which might not necessarily apply to someone else, I would just stress how important it is to be aware. A lot of composers may experience a time when they had a long talk with a director about their vision, then spent days working on what they just knew was going to blow that director away\u2026 only to discover that they weren\u2019t on the same page at all. It might take a good amount of time to think back on that initial discussion and determine where it all went awry, but that\u2019s one of the best things you can do for yourself in order to prevent that from happening again. You always have to trust your instincts and allow your experiences to guide you, and that\u2019s all formed over time.\u201d<\/span><\/p>\n<p style=\"text-align: center;\"><a href=\"https:\/\/afm47.org\/press\/wp-content\/uploads\/2020\/07\/Prodigal-Son-musicians.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">View the &#8220;Prodigal Son&#8221; musicians roster<\/a><\/p>\n<hr>\n<p style=\"text-align: center;\">&nbsp;<\/p>\n<h2 class=\"p1\" style=\"text-align: center;\"><i>Listen to the full season 1 soundtrack on Spotify:<\/i><\/h2>\n<p><a href=\"https:\/\/open.spotify.com\/album\/52FNJq4HEKIM2oCNVTLH2x\" target=\"_blank\" rel=\"noopener noreferrer\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-7668\" src=\"https:\/\/afm47.org\/press\/wp-content\/uploads\/2020\/08\/prodigal-son-spotify.png\" alt=\"\" width=\"1420\" height=\"764\" srcset=\"https:\/\/afm47.org\/press\/wp-content\/uploads\/2020\/08\/prodigal-son-spotify.png 1420w, https:\/\/afm47.org\/press\/wp-content\/uploads\/2020\/08\/prodigal-son-spotify-300x161.png 300w, https:\/\/afm47.org\/press\/wp-content\/uploads\/2020\/08\/prodigal-son-spotify-768x413.png 768w, https:\/\/afm47.org\/press\/wp-content\/uploads\/2020\/08\/prodigal-son-spotify-1024x551.png 1024w, https:\/\/afm47.org\/press\/wp-content\/uploads\/2020\/08\/prodigal-son-spotify-624x336.png 624w\" sizes=\"auto, (max-width: 1420px) 100vw, 1420px\" \/><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>How fraught familial drama and steely surgical tools inspired Nathaniel Blume\u2019s killer soundtrack for \u2018Prodigal Son\u2019 by Max Weinstein To say that stories about serial killers enjoy a permanent residency in popular imagination would be to state the obvious. The challenge, now, isn\u2019t for stories about psychopaths to draw an audience, but to offer a [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":7644,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","footnotes":""},"categories":[5,596],"tags":[25,1539,1538],"class_list":["post-7631","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","category-features","tag-listenla","tag-nathaniel-blume","tag-prodigal-son"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Unsettling the Score: Interview with composer Nathaniel Blume - 47 Blog | AFM Local 47<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/afm47.org\/press\/unsettling-the-score-interview-with-composer-nathaniel-blume\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Unsettling the Score: Interview with composer Nathaniel Blume - 47 Blog | AFM Local 47\" \/>\n<meta property=\"og:description\" content=\"How fraught familial drama and steely surgical tools inspired Nathaniel Blume\u2019s killer soundtrack for \u2018Prodigal Son\u2019 by Max Weinstein To say that stories about serial killers enjoy a permanent residency in popular imagination would be to state the obvious. 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