#MANDALORIAN COMPOSER MOVIE#
And what was so interesting to me was how can we tie all these into the storyline of the movie and make it really real?” There's a rhythm for when someone has a birthday. And there's a rhythm for when someone dies. If someone comes home to the village that's been gone for a long time, you just automatically join up in this certain rhythm. Certain events go hand in hand with music. There's so many rituals that music is just tied to it naturally. So I knew coming into this project, how important it was to learn more and study different music with different tribes, because music is just part of life in a completely different way than it is in Europe and America.
When I studied at Royal College of Music in Stockholm, I took a class in African music, and the last year they actually sent us to Gambia, and we studied four different tribes for a month. … I had studied African music a little bit before. But I don't think he really - he definitely didn't understand the phenomenon of what we were going to do together, how big that would turn out to be. I think I described to him what I was trying to do and what I was looking for. We're going to go on tour for a couple of weeks. I just called him up, and he was like, ‘Hey, yeah, just come down. And my friend linked me up with Baaba Maal. “After I read the script, I knew that I had to go to Africa and learn and study African music and work with African artists. On his Academy Award-winning score for “Black Panther” They met over a game of pool while they were both film students at USC. Ludwig Goransson frequently collaborates with director Ryan Coogler. And then six months later, he asked me if I could score his first little student film called Locks. And we started talking about film and music and, and we became friends. And I thought it was so cool that he knew about these artists. And he knew I was from Sweden for some reason, so he came up to me and started talking to me about the Swedish artists that he loves. And at a party I started playing pool with Ryan Coogler. I’d just moved to LA, I didn't know a lot of people. On his friendship and frequent collaboration with director Ryan Coogler And that I think that was one of the reasons why I was so interested in film scoring.” And I think somewhere in my mind, I knew that in film scoring, depending on what project it is, you can be able to write music for any type of genre. And I loved writing all different types of genres. But what I loved doing the most was to write music. And I went to the Royal College of Music in Stockholm for jazz improvisation. And in high school, I got into classical music. And it's called Metallica.’Īnd when I heard that for the first time, I was like, ‘Okay, I want to devote the rest of my life to music.’īut as I grew older, I got into jazz. But I heard this loud music and I asked him, ‘What is this?’ And he's like, ‘This is a new band I'm trying to learn because my students want me to play this with them. I went down there and opened the door, and I saw my dad headbanging. And I remember a year later when I was 9, I heard this music in my dad's basement. And then we sat down about 15 minutes every day and started playing guitar. So he gave me an electric guitar when I was about 8 years old. On the moment that made him want to become a composer “So what you hear in the intro of the theme is the bass recorder, and I put some different effects on it, so it kind of sounds almost like a space flute.” “I had to get back to it because I haven’t touched it for about 20 years,” Göransson says. Just sitting down, mediating, just closing my eyes, and just recording myself playing the bass recorder for three days.” “So I bought a set of different recorders, and that was the first thing I did. “I just surrounded myself in my studio with instruments that I can play myself,” Göransson says. He also stepped away from the computer, which he typically uses to write music, and returned to a familiar childhood instrument as well - the recorder. To craft the series’ musical themes and motifs, Göransson drew on what he first felt as a 7 year old. the music that really caught my interest in Star Wars.” “I heard the music before I saw the movie. “Anyone growing up in any part of the world is a Star Wars fan,” Göransson tells KCRW’s Press Play.
#MANDALORIAN COMPOSER SERIES#
Swedish composer Ludwig Göransson had a pair of Death Star-sized shoes to fill when he took the musical reins of the franchise to score the critically acclaimed live-action Star Wars television series “The Mandalorian.” And no John Williams score is more recognizable than “Star Wars.”
When it comes to film scores, no name looms larger than John Williams.
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