Kris Bowers on Scoring ‘The Wild Robot’ and Why It Made Him Reflect on Parenthood

As I delve into the captivating world of Kris Bowers and his enchanting work on “The Wild Robot”, I find myself deeply moved by his extraordinary journey. This project, being his first foray into animation scoring, coincided with the birth of his daughter, creating a unique blend of experiences that resonated profoundly with him.


Composer Kris Bowers was touched by Dreamworks Animation’s latest movie, “The Wild Robot,” in a way that took him by surprise.

Director Chris Sanders requested Bowers to compose the music for an animated movie centered around a robot named Roz (voiced by Lupita Nyong’o), stranded on a deserted island. From the start, Chris shared that he would rely heavily on the music in this film. He mentioned there were certain moments where he wanted the music to guide our emotions, as Bowers recounts.

The music not only stirred emotional responses from the audience, but its topics about family, community, and connections resonated deeply with Bowers.

In “The Wild Robot”, Bowers embarked on his initial venture into composing music for animations. He started crafting the score soon after the arrival of his daughter, investing the subsequent two years in refining the melodies.

In a challenging environment, Roz gradually forms bonds with other island creatures. Notable voices in the cast include Catherine O’Hara, Mark Hamill, and Pedro Pascal. A significant interaction is between Roz and an abandoned gosling named Brightbill (Kit Conner). Before migration time arrives, Roz nurtures and instructs him on essential survival skills like flying and swimming.

When crafting the central idea, Bowers understood that it should encapsulate the concept of family, the island symbolizing this bond, and the dynamic between Brightbill and Roz. “That was the initial theme I developed,” Bowers explains. “Subsequently, I wrote Roz’s theme, which is heard at the start of the film and recurring throughout.

Initially, Bowers understood that the migration scene had to be impressive, so he tackled it from the start. On his initial attempt, Bowers confessed, “I composed something I felt proud of and took it to Chris, but he replied, ‘This doesn’t seem fitting. Try envisioning dropping [your daughter] Coda off at college.’

As the composer and Sanders worked together, Bowers gradually understood something important. He explains, “It struck me that it would be heart-wrenching to bid farewell to her under those circumstances, much like Roz and Brightbill find themselves. There are issues in their relationship that may prove unfixable, and they haven’t expressed their love for each other, or said goodbye, and there’s a chance they might never meet again.

The heartfelt bond between Roz and Brightbill’s friendship deeply touched Bowers, causing him to ponder on his own relationship with his daughter. Overwhelmed by these emotions, Bowers claims that he developed the theme and shared it with Sanders. “He was profoundly moved by it and offered some suggestions,” Bowers recounts, “but he urged me to compose independently from the visuals.

Composer Bowers created more than 80 minutes of music for “The Wild Robot.” He avoided instruments associated with particular cultures to create a raw and futuristic tone. In his search for this unique sound, Bowers found an ensemble group called “Sandbox Percussion,” consisting of four men who play diverse percussive sets. According to Bowers, they utilize glass bottles tuned chromatically, teacups, wooden planks, and cowbells. He believed this sound would provide an intriguing texture for the wilderness’s ambiance. Meanwhile, synthesizer sounds formed the basis for the character Roz.

In Fink’s theme (performed by Sandbox Percussion), Pascal’s voice characterizes it, as explained by composer Michael Giacchino (Bowers). He describes the mood as a subtle blend of jazz, blues, and a catchy rhythm, emphasizing Fink’s mischievous nature and his interaction with Roz. Before the rescue mission, there’s a gentle, soft rendition of his theme played on clarinet, which is quiet and understated. Later, Bowers revisits this theme, imbuing it with tenderness and a slight change in harmony. By the end, as Roz contemplates her decision on the island, Fink develops an affinity for her, and his theme returns, now harmonized differently to reflect his character’s evolution. According to Bowers, it no longer has that bluesy, sly feeling; instead, it becomes more wholesome.

In the end, Roz forms a tight bond with her animal companions, yet she must make a heart-wrenching choice to protect them, which leads her back to the factory. This scene deeply touched Bowers. “The film struck a chord at a time when I was reflecting on my wife giving up many things for our child and family,” he explained. “I thought about my mother, who was the main provider in our household, rising early at six in the morning to work, then cooking us dinner.” Bowers further added, “It made me think of numerous instances in my life, and that’s why the emotion felt so accessible. The movie echoes films like ‘Bambi’ or ‘The Lion King,’ which tackle tough themes such as loss, and it was crucial to approach this subject with sincerity and raw emotion.

https://open.spotify.com/watch?v=album/5vPmhPPPAecZIMHzo4Al9i

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2024-09-28 00:21