Oscar-Winning Composer Joe Renzetti Talks ‘New Fears Eve’ [Exclusive Interview]
We’ve been covering New Fears Eve on Dread Central for a while now, and we were thrilled to learn that Oscar-winning composer Joe Renzetti has now signed on to compose the score for the upcoming slasher film.
Renzetti won an Oscar for Best Adaptation Score for the incredible soundtrack he created for The Buddy Holly Story, which propelled him to international fame. He went on to work primarily in the horror genre, composing the scores for classic films such as Dead & Buried, Poltergeist III, Child’s Play, Basket Case 2, and Frankenhooker. Despite his busy schedule, Renzetti was kind enough to grant us the following interview about his work on New Fears Eve, and he discussed everything from how he came to be involved with the project down to how his score is going to sound. The full interview can be found below, and fans of Renzetti’s work will definitely be interested in what he had to say.
New Fears Eve introduces a new iconic horror villain known as The Doctor, who embarks on a bloody killing spree throughout the city of Owensboro in Kentucky. After setting his murderous sights on the annual New Year’s Eve party at Hooper Industries (a clear nod to legendary horror director Tobe Hooper), The Doctor ensures that all the unassuming partygoers will be in for a night they will truly never forget. The film is being co-directed by Eric Huskisson and P.J. Starks.
Dread Central: What attracted you to New Fears Eve, and how did you come to be involved with the project?
Joe Renzetti: I saw a couple of postings about their film on social media that caught my eye, and my interest. Being a big fan of horror films, particularly comedic-horror films, I was intrigued by the title and the trailer that was online. I dug a little deeper into the producers’ and directors’ backgrounds and saw that they’ve produced a bunch of films and they all looked good. So I decided to contact Eric & P.J.
DC: What are you looking forward to most in terms of working with directors Eric Huskisson and P.J. Starks to create the score?
JR: Basically, good directions. Like an actor in a film, there are choices for a composer to make. Any scene could be scored in a few different ways. The director makes the final decision as to what choices should be made emotionally. It’s the job of the film composer to translate the director’s dramatic terminology into music.
DC: Can you also discuss your process of creating the score? I understand you make it with digital software.
JR: Many TV shows and films today have music scores that are produced electronically, digitally. Using big orchestras is not only very costly but very time-consuming, especially in today’s fast-moving production schedules. Also, the digital world allows composers not only to simulate acoustic instruments, but also to morph, twist, and shape them into sounds that have never been heard before.
My process consists of watching the film for the first time like any audience member. I want to get a first impression of what it’s about. I then formulate a bunch of ideas, generalities, and a few possibilities for how to approach the music in the film.
Then I have conversations with the director, to get their ideas, and visions of how they are thinking about the music. I then take the video of the film into my studio, known as a Project Studio. It is a state-of-the-art computer nerd’s musical heaven. I lock the doors for a bunch of weeks and compose the music for the picture until it starts to shine. I play the music for the director, they make suggestions and give me “notes.” Then I make their changes, and we go back and forth until the film is done. Being done means they approve of all the music.
DC: P.J. mentioned he wanted the score to be more orchestral rather than having a 1980s synth sound. With the film in the process of being edited and having only seen the trailer, do you have an idea of what the score will sound like, or will you wait until you see the movie and let it guide you?
JR: When I look at the film for the first time, I make mental and written notes of my impressions of it. I’m looking for what I think the story needs musically, dramatically. The music is there to support the emotions in the film.
One of the first basic decisions is what you might call the “musical voice” of the film. P.J. envisions it as more orchestral compared to electronic-sounding synthesizers. I take that into consideration and work in that general direction. The sounds today that are made digitally sound so much like real orchestral instruments, that only the most sophisticated ears can tell the difference, and sometimes they are fooled.
DC: What is the process for making sure your score for New Fears Eve will remain unique when compared to other scores you’ve composed?
JR: I really have no basic style. Every film I approach, I approach with a concept that is totally unique to that film. Every film has its own personality, and just like people, there are no two films alike. I mean that literally, maybe in the same genre, but they have their own sense of color, pacing, storytelling, etc. However, if Eric and P.J. decide to redo The Buddy Holly Story, I might have a problem!
DC: As you’re an Oscar-winning composer, can you explain what you believe to be the key elements of a great film score?
JR: There really is, in my opinion, only one key element. That is to make the film come alive. To draw the viewer into the film totally and completely. To take the audience on a journey that they completely and fully enjoy. Music has a big part in playing that role.
Categorized:Interviews
