Home Musical score “Station Eleven” multimodal score by Dan Romer – Sound and screen – Deadline

“Station Eleven” multimodal score by Dan Romer – Sound and screen – Deadline

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Create the music for HBO’s post-apocalyptic miniseries station eleven offered composer Dan Romer the unique opportunity to create a score that informs itself as new episodes unfold.

The really fun thing about [the project] is that the actual score starts learning songs as the show goes on,” Romer explained during Deadline’s Sound & Screen event Thursday night at UCLA’s Royce Hall.

“Station Eleven”
HBO

“It’s not supposed to go the other way: the songs don’t know the sheet music, but the sheet music was the song,” said Romer, whose music credits include sheet music for The Beasts of the Wild South and Lucas and producing tracks for Shawn Mendes and pop duo A Great Big World. “So it’s a really fun palette to play with. It was like, ‘Oh, we have this melody that they sing. Let’s put this melody in the Shakespeare [play scenes] and put this Shakespeare melody in the score.’”

He added: “There’s a bunch of musical modalities in the show. There’s the actual score, there’s the folk songs that the symphony itself was supposed to have written…and then there’s the music that ‘they play for the orchestra in the show that plays on Shakespeare. … Before filming, a lot of Shakespeare’s music was written and the songs were written, so that they could play it on the set and the sing on the set.

The composer said his self-imposed rules include composing a score played by “every instrument you’re carrying,” much like the show’s Traveling Symphony does while touring the Midwest after a deadly virus has turned society upside down. And he revealed that station eleven executive producer Patrick Somerville, for whom Romer also scored Maniacalis a very practical creator, quite literally, when it comes to music.

“It’s really a lot more back and forth,” Romer said. “I think we completely influence each other and all of our ideas, and then every time I finish writing something, I’m like, ‘You have to come sit with me in the office. We have to just sit and watch the sessions and work on them together!” It’s so much fun to jam together.

He added: “It’s such an intrinsic collaboration between Patrick and I and we just spent so much time together, making music, crying and talking about history. It was an incredible experience working with him.