ComingSoon had the opportunity to speak with compose Mark Orton about his fantastic score for Alexander Payne's equally fantastic The Holdovers, now playing in theaters.
ComingSoon had the opportunity to speak with composer Mark Orton about his fantastic score for Alexander Payne’s equally fantastic The Holdovers, which is now available digitally.
I think that the “Drive to Boston” cue probably has a certain emotional depth that isn’t explored previously – and that it lets the audience breathe somewhat of a sigh of relief after a lot of acrimonious narrative previously. There’s a certain hopefulness to the cue that’s a first for the characters, although it does remain tinged by a bit of melancholy.
Alexander’s tastes in film music mean that the music should never lead emotion or humor, so generally speaking the first order of business is to not inform the drama and comedy – or certainly not amp it up in some way. Supporting it is ok, but most of the time I’m looking for ways to stay neutral enough to let the characters and story lead the way.
In Nebraska, you employed a blend of folk and acoustic music. Did you incorporate any particular musical styles or genres that are unique to The Holdovers? I really don’t like the wall to wall trend that’s permeated so much of film and especially TV/Series/Episodic work. I value silence a great deal.
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