Actor-director Edward Norton called on jazz great Wynton Marsalis to work on 'Motherless Brooklyn.' Then he brought in Thom Yorke and Daniel Pemberton to top it off.
When Edward Norton, who wrote, directed and starred in “Motherless Brooklyn,” began planning its music, he didn’t fool around.
“I loved the idea that jazz, which has such an improvisational and obsessive-compulsive way of taking a riff, exploring it, breaking it down and twisting it around, seems like such a very Tourettic musical form, especially bop and hard bop from the mid-to-late ’50s,” Norton says. “I knew jazz was going to be one component to the actual story of the film.”Norton first checked with an old friend, trumpeter-composer Marsalis, the artistic director of New York’s Jazz at Lincoln Center.
But, Norton says, he also needed a ballad for “an important emotional moment in the film, to create a moment of bonding and lightness between Lionel [Norton’s character] and Laura,” as played by Gugu Mbatha-Raw. That’s when he called Yorke.“His songs have longing and loneliness and yearning in them, but also dissonance,” Norton notes. “I had him read the script. We talked about this notion I had of personal struggle, personal anguish, but with an overlay of a sense of living in dark times.
The final film contains both Yorke’s vocal version and Marsalis’ jazz arrangement . Norton even added references to Yorke’s lyrics into the script, as when Lionel complains about his medical condition and Laura responds, “We’ve all got our daily battles.”Pemberton, the English composer responsible for the dramatic score, “is one of the really protean talents in film music right now,” Norton says.
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