![]() On “Moonlight,” New York composer Nicholas Britell’s “a-ha” moment was learning that director Barry Jenkins was a fan of chopped and screwed music, a style of Southern hip-hop in which, Britell explains, “you take tracks and slow them down, where you get this very rich and deepened audio texture to the music.” It’s not about scoring objective reality.” There is drive and energy but it’s mostly emotional, to tell us that it’s really inside someone’s head. If the ‘book story’ was a standalone film, there would probably be more action music. “The story in Texas is basically a fairy tale,” Korzeniowski explains. Intriguingly, despite the many scenes set in rural west Texas, there are no guitars and no hint of country music. They worked closely for two months, including three weeks in London prior to recording. ![]() We tried many things” while searching for the right approach, he says. The Polish-born, L.A.-based composer did Ford’s previous movie, “A Single Man,” and as before, found the creative process to be “very intuitive. So we needed reduced forces and there is this very simple, descending melody, very poignant.” (The idea was) to not damage the very fragile feeling, not to overwhelm it and yet give it an extra emotional underlining. Korzeniowski’s richly orchestrated and haunting opening music, scored for a 70-piece ensemble, sets the stage, although the composer says he worked and reworked the piece “to the very end, to find the right balance, not to cross a boundary or make it too circus-like.”īut, he also points out, “some of the cues inside the movie are extremely small – like discovering the bodies in the field. The story outside, the drama of Susan, is scored like a thriller, as if you were watching a Hitchcock movie.” (One critic suggested the music was like a marriage of Philip Glass and Bernard Herrmann.) ![]() The crime story is scored as a very emotional, intimate journey. “To address this,” he adds, “the score is written in reverse.
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