00:25Thank you for listening.
00:47Thank you for listening.
01:30How did this come about?
01:33So, hi everybody.
01:36Really quick though, I know we're tight, but I have to say thank you to all these musicians.
01:40They've been up here all day.
01:42They're absolutely killing it, and they're not slowing down.
01:48They certainly aren't.
01:49And also, because I know what it feels like to be in an audience and not get called out
01:54on something you work on, I have to thank my team really fast.
01:57So, Chris Knight, Catherine Joy, my whole orchestration team, John Clark, I can't see anything, and
02:07Orin Hadar, my score mixer, I love you guys.
02:10Couldn't do this without you.
02:12So, thank you.
02:13So, many years ago, I'd say about 10 years ago, I saw a film that Colin Hanks directed called
02:22Tower Records.
02:24All Things Must Pass.
02:26All Things Must Pass, yeah.
02:28And our producer, Sean Stewart, who's in the room tonight, he produced it with Colin, and
02:34I think they grew up together.
02:36And, you know, when I found out that they were making this John Candy film, I said, I've got
02:41to meet Colin.
02:42And Sean said, he doesn't have a guy, so, you know, let's put you guys in touch, and
02:48it went great.
02:49I imagine one of your challenges was, obviously, John Candy is an incredible actor, incredible
02:54comedian.
02:55We all laugh at his movies, but the documentary shows the other side of John Candy, and I imagine
03:01the score has to reflect both the funny and the sad.
03:06That's true.
03:07Yeah.
03:07The biggest challenge with scoring this film was that we were making a movie, we were making
03:12a film about a movie star, and, you know, he's this larger-than-life character, both
03:18on and off screen, and, you know, I think it was really important to write a score that
03:23felt triumphant for him in all of these roles and everything that he accomplished in his
03:28career, but that was also scalable down to this more intimate moment with him as a father
03:33and as a husband and as someone who was struggling on the daily with his own grasp on mortality.
03:41I gather you initially were thinking synths and something like that, but then actually
03:46thinking about it a little bit more, perhaps, that the strings and some of that side maybe
03:51reflected this a bit better.
03:52Absolutely.
03:53Yeah.
03:53I mean, when Colin and I started talking about this film, the idea was, let's make it feel
03:57like a John Candy movie from the 80s.
03:59You know, kind of fun, a little quirky, but then we started getting the interviews back
04:04from Catherine O'Hara and Dan Aykroyd and Bill Murray, his biggest and, you know, his
04:11best friends in life, and they're, you know, Vikings of comedy, and yet we were getting
04:16these super heartfelt interviews back, and we just knew that we had a different film on
04:22our hands, and it required a different palette with the score.
04:25Talk about the French horn.
04:27The French horn, which tonight, you know, I'm up here on the stage with a million musicians,
04:33but I hope it came through, that was sort of in the score, in the film, the way it plays,
04:39it's like an isolated instrument for John, just felt like something that was, has a lot
04:44of valor to it.
04:45It's an instrument I love a lot, and it makes him feel kind of like a soldier going through
04:49this battle in life, you know?
04:51Yeah.
04:51Yeah, good instrument for him, I guess.
04:53That's perfect.
04:54It's perfect.
04:55Am I right in thinking that you actually also sourced some of the needle drops from John
04:59Candy films and blended this into, how did you do that?
05:02Well, I mean, yeah, there were a lot of needle drops that we have in the film from the 80s
05:07and from movies, you know, Wild Thing and some things that played in some of the films,
05:12and we have the theme from Home Alone in the film by John Williams, if you've heard of him.
05:16I think that those moments were like the levity and sort of the comedy or the fun little bursts
05:22of energy, and then it was like, just leave the score to do the emotional thing, and let's let
05:29those songs, you know, do that work, yeah.
05:32So you got to put your music next to John Williams?
05:34Because we, yeah, we are on a cue sheet together, which is crazy.
05:39This room will understand how important that is to me.
05:42I can understand that.
05:45Most of tonight has been scripted series and sci-fi series, and you work a lot in the documentary
05:50space.
05:50You've made scores for films like Faye.
05:53How does that differ from some of the scripted work that you've also done?
05:57Music is music, and film music is film music, and I think if you, I was just talking to somebody
06:05about this tonight, I feel like you can write a good score, but if you want to write a great
06:09score, it has to be from an idea that you have that you fully believe in, and that the team
06:15that you're working with supports it unconditionally.
06:18And that works across all kinds of mediums in film scoring, in my opinion, yeah.
06:25It's all about melody.
06:26It certainly is.
06:27Give it up for Tyler Strickland.
06:28Thank you so much.
06:29Thank you so much.
Comments