What do you get when you put together two of trailer music’s best talents, a 65-piece Czechoslovakian orchestra, and an Emmy-winning studio to mix it all with? One “Goliath” of a trailer album. Trailer composer David Travis Edwards (Wolverine, Iron Man 3, Battleship) teamed up with industry vet Daniel Nielsen (Argo, Cloud Atlas, Rise of the Planet of The Apes) for the compilation of thematic music that covers a range of dark, post-apocalyptic hybrid sounds to more dramatic, sweeping landscapes. The album marks the duo’s first project together that allows their collaborative, innovative artistry to shine in an explosive 10-track compilation. Mixed by industry veteran Jim Hill (Mad Men, Olympus Has Fallen) at Emmy-winning composer Trevor Morris’ studio in Santa Monica, California, “Goliath” offers an orchestral creation that demonstrates the range of talent that sets David and Daniel apart as trailblazers in the trailer industry. We sat down with the duo to discuss what went into the making of “Goliath.” [image above, from left: Daniel Nielsen, Jim Hill, Sean Harrison, Phil McGowan, David Travis Edwards]
Tell us about the creative process behind “Goliath.”
DTR: I had a lot of initial discussions with Sean Harrison [executive producer of Goliath] to pin down the overall tone of the album. I went to work on the first track with all the things we talked about in mind; the key words of dark, big and guttural. My impression of those words went into that first track. After we honed that first track, the subsequent ones varied tempos, keys, etc., but with the overall emotional tone having already been established.
DN: I knew we wanted it to be different so I always try to be conscious of that honesty, openness, to allow yourself to go to a different place. Typically, I work on the conceptual ideas first, sort of like cooking; deciding on the ingredients to set the musical pallet. I knew the album’s theme was “dark and orchestral” but I wanted to try to achieve that in a way that incorporates different elements and styles of music, like using a dubstep feel with the orchestra. I experiment to see how different things can work together but always with the album’s goal of big and powerful to take over the screen. You always have to conscious of your intention.
DN: Defining dark is really in the eye of the beholder. Dark to Tim Burton is different than dark is to a Tony Scott type. The general idea of “dark” simply gets you to a point where you can start being specific. To me, dark is evolving; it emotionally engages you; it makes you lean in a little bit more and then…..I hit you. It’s not just scary or loud. It’s not a one-dimensional definition but more about texture and tone. It’s a word that starts the dialogue, not ends it.
DTR: From a technical standpoint, there are some starting points that at least get you into the “dark” ballpark from which you can depart to your own individuality of creativity. It may be the musical mode that you’re writing in or the textures of the orchestra. Low strings and low brass are staples of the dark musical palatte. We also knew we didn’t want anything on Goliath to be overtly heroic. Hope was left at the door. We wanted to take you to and through the conflict but not provide the resolution. As far as being epic, I define that as minimal composition of notes for maximum production of those notes. The music at its core is quite simple but once you have a hundred players screaming it, there’s a point where it reaches epic authenticity. It become akin to a stadium anthem of orchestral music.
DTR: It’s always a challenge to compose a number of pieces that have to uniquely stand on their own in a single collection. Unlike composing a film score where thematic development can and is supposed to bind the pieces together, each piece on this album had to say something in its own right. I had to constantly reflect on what it was I was writing at the moment and be aware of not falling into the traps of using the same techniques. It becomes obvious when composers are dialing it in. Sometimes you’ll sit there, struggling to find a theme, and before you know it you’ve plugged into a very known formula. Those are hard to catch and I had to constantly challenge myself to be conscious of not falling into those traps. Outside of that, it is always rewarding to compose for live orchestra. The human element is like no other; the phrasing that occurs naturally with human players is always a wonderful thing to be able to utilize as a composer.
DN: I wish I had written more! [Laughs] Seriously though, I didn’t want to approach this project as, “Hey, I have five songs. I’ll go and write now.” Rather, I wanted to have a dialogue and be a part of the process. I think people feel that in your work. Even for those who don’t get to collaborate, hopefully they can feel that you’ve put your own efforts in. You know, people sometimes put music for trailers into a catch-all “trailer music” box. But I believe that it’s all music. I don’t feel the limitations. Maybe it’s more sectioned off then what it used to be; that the line is becoming darker. But it’s all music and, as a composer, you have to reward yourself first. You switch the perceived limitations of trailer music, like pieces only being 2 minutes long, from a problem to a challenge. These limits can often be the things that lead you to something very great.
— Allie Krummel
Contributing Editors: Marc Caruso