How the ’Andor’ Score Went for Maximum Strength While ‘The Studio’ Composer Acted Solo

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Sometimes, an entire 60-piece orchestra might be necessary to create an impactful score for a series; at other times, only one skilled musician is sufficient.

Two well-liked shows from this season, each showcasing different extremes, are “The Studio,” a satirical series on Apple TV+ that boasts an inventive percussion score created by Antonio Sanchez; and “Andor” on Disney+, a critically acclaimed drama wrapping up the “Star Wars” origins-of-the-Rebellion saga with fresh music composed by Brandon Roberts.

In the realm of Hollywood’s satirical landscape known as “The Studio,” I found myself contributing with my one-man drum band. To my surprise, I hadn’t crossed paths with Seth Rogen and Evan Goldberg before this venture, but it seemed they had been using my rhythmic symphony from the 2014 flick “Birdman” as a placeholder for “The Studio,” and they were quite taken by it.

Sanchez states that they provided him with the initial episode, and upon viewing it, he noticed that their success was due to the use of percussion, timing, and rhythm. His experience as a jazz drummer for many years allowed him to ‘achieve much with minimal effort,’ be ‘decisive and intense,’ yet maintain a ‘lightness.’

Sanchez doesn’t just play intuitively to the scenes; instead, he often layers multiple drum tracks together, creating a diverse palette of sounds. He might start with a basic drum set in one recording, then use brushes for another layer, mallets for a third, and cymbals or hand percussion for a fourth. This method gives the music an almost endless range of color options.

He distinctly set “The Studio” apart from “Birdman” by incorporating bass, piano, and various other instruments like brass or woodwinds, all self-produced within his personal studio located near Barcelona, Spain. No external musicians were involved in the process.

To ensure a rich musical experience in “Andor’s” second season, Roberts required a 60-strong London orchestra, an eight-part choir, and an assortment of unique instruments to bring to life the planets Yavin, Mina-Rau, and Ghorman.

In “Andor,” it was Nicholas Britell, an Emmy-nominated composer, who composed all of Episode 4, most of Episode 5, and a portion of Episode 6 before he needed to depart from the project. Notably, he wrote the Ghorman National Anthem that plays a crucial role in Episode 8, as it is heard during the scene where protestors are brutally attacked by Imperial soldiers.

Roberts expressed a desire to preserve the DNA and color scheme established by Nick for Season 1, while also incorporating some recurring themes. However, showrunner Tony Gilroy emphasized the need for novel planets, plot advancements, character growth, and expansive musical themes that demanded fresh thematic material, new ideas, and extensive world-building.

Roberts had the opportunity to review all twelve episodes prior to composing, thanks to his entry into post-production at that point. For Yavin, he needed a theme that was both melodic, orchestral, and majestic; Mina-Rau required an earthy, wholesome, Americana sound, while Ghorman leaned towards Viennese waltzes with Eastern European influences, incorporating elements like the cimbalom and hammer dulcimer. Roberts’ music for the complex Cassian-Bix relationship played a crucial role in later episodes, while the early jungle-moon sequences were enhanced by his unique choice of percussion, such as the Indonesian bamboo instrument angklungs, previously used in “Planet of the Apes.

In the project, a lively element was introduced – creating a local band called Kafhaus from Ghorma, using gut-string violin and tribal drums for a wedding on Chandrila. Furthermore, an operatic aria in the Ghorman language was composed, giving it an air of a classical piece that seems to have been circulating throughout the galaxy as Roberts describes it.

The setting of “Andor” within the Star Wars timeline could initially seem confusing. It comes after the John Williams-scored prequels, followed by Season 1 scored by Britell. However, it leads up to “Rogue One”, which was also a prequel but scored by Michael Giacchino, and ultimately precedes the original Star Wars: A New Hope, also scored by John Williams.

Roberts expressed that the toughest part was blending the music seamlessly while also infusing his unique style into it. To have even a tiny piece of the Star Wars musical legacy is a lifelong dream for any composer.

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2025-06-04 05:16