What do the composers of some of this year’s most talked-about films — Nocturnal Animals, Moonlight and Lion — have in common? Fresh and innovative approaches, as I discuss in my latest music story for Variety. Interviews with Abel Korzeniowski (Nocturnal Animals), Nicholas Britell (Moonlight) and Dustin O’Halloran and Hauschka (Lion) reveal that each found offbeat musical ways into their respective dramas, and each deepened the filmgoing experience. For Korzeniowski, it was flipping musical genres for the two stories in the film; for Britell, using a hip-hop recording technique; and for O’Halloran and Hauschka, collaborating on a film set largely in India without employing Indian music.
Every year it’s my privilege to interview many of the composers nominated for Emmys in the key music categories. The occasion is usually the creation of Variety‘s full-page chart devoted to brief descriptions of the music in all five categories. But this year I’m doing more, beginning with a story utilizing what I heard from all six nominees in the category of Music Composition for a Series (Original Dramatic Score) — music from Bates Motel, Chef’s Table, Limitless, Minority Report, Mr. Robot and Penny Dreadful. It’s always fun to hear what these hugely talented composers have to say about their diverse assignments.