The melodies you hear in the french horn were melodies in synthesizers before that. It was a consistent collaboration from front to end.Įverything that wound up in the orchestra had its gestation in original electronic ideas. Other times, I’d go off and do something and bring it back to them. Sometimes I would begin working with the in the room, whether we’d be all alone or together. JT: Most of them were all electronic ideas. How were the ideas presented to you? What did you end up doing with those ideas and then how did your input affect the final product? Could you walk me through a day in the life of creating one of the cues for this film? SK: Take me through the creation of a typical cue. This had been something that Daft Punk, and the director and our music supervisor, and the producers, took really seriously from the very beginning, even before I was brought on board. They already had a clear idea of the melodic ideas, sonic ideas, and electronic demos and sketches that were ready even months before I became involved. JT: I started working with Thomas and Guy-Manuel in January 2009. Around what month did you get directly involved? SK: Two years is a very unusual amount of time to work on a score. It was something that evolved along with the project. My role in the project wasn’t clear to me or everyone else. It was a slow evolution from a batch of ideas that the director and composers had. The orchestra was going to be an addition to the electronic layers, but Thomas and Guy-Manuel had a vision for a much more powerful role for the orchestra. There wasn’t supposed to be that much music and it was supposed to be a mostly electronic score. In the beginning it was very much an experimental phase. It was open-ended because we started so early. SK: During the beginning stages of collaboration, how did everybody figure out and adapt to what your role was going to be? So, he recommended me to them, and, I guess the rest is history (laughs). My friends saw that I could possibly bridge this gap between the robots and the logistics of actually taking on this project. I’ve worked with synthesizers since I was in high school. I’ve worked on scoring, orchestrating, and arranging to picture, but I also have a deep love of electronics. Luckily my friends thought of my skill set and knew I was orchestrally trained. They were speaking with them about potentially scoring Legacy and the challenges that they faced, not the least of which would be scoring a film which they had never done before, and certainly not one of this size or kind, and also working with an orchestra which they had never done before. Some people I had worked with on multiple occasions know Thomas (Bangalter) and Guy-Manuel (de Homem-Cristo). Joseph Trapanese: I was really lucky, or how should I put it…it was really serendipitous. For starters, I’d like to know how you got involved with TRON: LEGACY. ScoreKeeper: I’d like to thank you for taking the time to talk with me today. There’s a lot of mystery and conjecture surrounding this score.
Daft Punk routinely declines interviews (believe me, I tried) so I opted to talk with Joseph Trapanese who worked intimately with them for two years. It was difficult sorting through what was fact and what was fiction. The problem was, there were a lot of rumors floating around out there. Not long after viewing the movie, I wanted to know more about the score and how it was created. The score ended up being my favorite of 2010 (read my review here). Finally, the angel on my other shoulder told me to just shut up and enjoy it. I was in awe of it, yet I could hear the devil on my shoulder coming up with excuses to justify hating it.
TRON LEGACY SOUNDTRACK OST MOVIE
When I finally experienced the movie for the first time, I was pretty taken aback. Was this the right choice? I dismissed their selection as just another paltry scheme pandering to popularity. I longed recognized them as great musicians, but were they great filmmakers? Film composing has more to do with the art of filmmaking than it does music-making. What few positive spikes piquing my interest were completely eroded away when it was announced that Daft Punk was composing the score. I’m a fanatic of the original TRON (1982) and every direction Legacy was heading communicated to me that this was nothing more than a blatant cash-grab cannibalizing another beloved franchise from my youth. Nobody who writes publicly about film or music (or both) wants to admit having made up their mind to not like something before experiencing it however, that’s pretty much where I was with TRON: Legacy. Watching this film for the first time back in 2010 was an incredible learning experience for me.
My final “lost” interview is with Joseph Trapanese who collaborated with Thomas Bangalter and Guy-Manuel de Homem-Cristo (better know as Daft Punk) for two years helping them bring their score for TRON: Legacy(2010) to the big screen.
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