As a dedicated cinephile with a penchant for haunting melodies and a vast library of film scores, I find myself utterly captivated by Robin Carolan’s work for Robert Eggers’ “Nosferatu”. The score is an intricate tapestry that mirrors the eerie beauty of the film itself.
The music for Robert Eggers’ “Nosferatu” (currently playing in theaters) seeps into you, which was precisely Robin Carolan’s intention.
Carolan assembled sixty musicians playing strings with the intention of creating an “immersive, dizzying sound” that would leave listeners feeling disoriented and impactful, like a punch in the chest.
Filmmaker Eggers takes inspiration from F.W. Murnau’s 1922 silent German Expressionist movie for a modern retelling. In this version, Lily-Rose Depp portrays Ellen, a young woman caught in the sinister pursuit of the fearsome vampire Count Orlok, played by Bill Skarsgård. Joining the cast are Nicholas Hoult, Aaron Taylor-Johnson, Emma Corrin, Ralph Ineson, Simon McBurney, and Willem Dafoe.
Eggers insisted that Carolan refrain from employing electronics or synthesizers in the film’s score because he desired every aspect of the production to be historically authentic. “It wasn’t open for debate,” the composer explained. Besides strings, percussion, horns, and woodwinds were incorporated to enrich the music.
Among the initial melodies that Carolan composed, one was known as Ellen’s theme, which he originally wrote as a demonstration piece. Carolan shared, “Rob needed something for me to play before we headed to shoot the movie.
Despite its unconventional nature, the piece required a rich and harmonious melody. I aimed to emphasize the sorrow and melancholy in the narrative, which is largely portrayed through Ellen’s character.
Ellen’s motif begins as a quintet-based baroque sound put together with contemporary strings.
Initially, her themes are described as “subtle” by Carolan, mirroring the depth of her inner feelings. As a freshly married woman named Ellen, she once sought solace from a guardian spirit during difficult times. However, Count Orlok, captivated by her, persistently pursues and terrifies her instead.
Carolan found it difficult to instill fear into Skarsgård’s portrayal of Count Orlok, as he was faced with a formidable task: “Orlok is essentially Dracula, and Dracula is a highly iconic literary figure whose themes have been explored extensively in films. Many artists have created music for these Dracula adaptations.
Carolan found himself under the weight of creating something impactful. Despite the fact that the character was the antagonist in the movie, Eggers and Carolan aimed to add moments that made this character more relatable, giving him motifs that were “grand, boisterous, and stormy, yet at specific instances, they transition into a somber melancholy.
Beyond strings and drums, Carolan incorporated a Toaca, an age-old Romanian musical instrument typically found in monasteries within the region. He describes it as “a massive wooden plank that you strike with mallets, producing various sounds. It lent distinct personalities to specific scenes.
At the climax of the movie, the musical themes for Orlok and Ellen merged in an epic 10-minute composition. As Carolan explained, “I aimed for it to be as powerful and emotional as possible.” He further noted, “I composed it almost like a twisted wedding, it’s romantic but also has a disturbing undertone.
Listen to the score below.
https://open.spotify.com/watch?v=album/6qlFrMn86Pj4AiLkialz9x
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2024-12-26 20:46