Theodore Shapiro, Composer:
I particularly admire the fact that Mark always makes it his business to watch the film we are working on, understanding that the role of the score is specific to each and every film. Frequently his familiarity with the film gives him insight in how to approach the music. As a composer that is a great comfort, because we’re not just making music— we are part of a filmmaking team.
2015
Trumbo
As one of many collaborations with composer Theodore Shapiro, Trumbo was unique. The film is a biopic about Dalton Trumbo, a communist screenwriter during the 1950s Red Scare. Because the film is so situated in a particular cultural moment, Shapiro wanted a sound that reflected that moment.
After talking with Mark, he decided he wanted the brass and woodwind in the score to be reminiscent of the jazz music of the time, particularly the early music of Duke Ellington.
They began experimenting with different sounds, looking for a palette that would fit the movie’s tone. According to Mark, “The first thing we did on the recording session was audition combinations of mutes on the brass instruments to get the exact sound we wanted.”
After trying out several different types of mutes, Mark and Shapiro found a solution that fit the vision of the film’s music score, with an interesting and unusual palette of prepared piano, harp, percussion, strings and muted brass.
The film could have easily taken a more ordinary approach for its music, but Mark appreciated that Theodore Shapiro had the ambition to push the music to a more creative place, as well as the trust to seek him out for support.
Mark explains, “I like doing things like that—coming up with different sounds and different solutions to do something creative within the orchestra.”
After trying out several different types of mutes, Mark and Shapiro found a solution that fit the vision of the film, and they used it as the guiding center for the score. From there, they expanded the ensemble to include a prepared piano, a harp, and a range of percussion.
The film could have easily taken a more direct approach for its music, but Mark appreciated that Theodore Shapiro had the ambition to push the music to a more creative place, as well as the trust to seek him out for support.
Mark explains, “I like doing things like that—coming up with different sounds and different solutions to do something creative within the orchestra.”
Theodore Shapiro, Composer
Whether the project is large or small, Mark is an invaluable consigliere in how to get things done. He helps me figure out every facet of the logistics of executing the score, and then as an orchestrator is a fantastic partner in thinking about the role of orchestra in the score. He does all of this in an egoless way that is singularly focused on the quality of the work.
