Spider-Man: Across the Spider-Verse | The Film Score with Daniel Pemberton | "Start a Band"

uh St band is officially known as across the spiderverse starter band and it's the final queue in across the spiderverse but it's also a mirror of the very opening of the film so we open with the beginnings of this [Music] queue and we go through this crazy Journey on the film and at the end is where the whole queue and all the ideas all the musical ideas in the film all come together in this final moment of of the movie all the way through working on this movie one of the things that's really important is how all the sounds all the different worlds all the different Characters themes can all interact with each other and it is one of the most complicated things with scor this movie is giving everyone a theme everyone a Sonic identity every World a sound identity yet allowing all those worlds to fuse together when the moment is right and this is the moment when everything comes together to be honest at the end of the film and it's the culmination of like every idea in the film into one cue the very first thing we hear is the prowler sound which was a very big part of the first film I'm not at this point we've met this kind of Uncle eron from a different Universe Earth 42 um but this is the first time we really see he is the prowler we've hinted at it but now we have you know the first big Prowler sound which is [Music] this and then under the prow sound you know there's there the prow sound which I originally made in this like crazy synth jam with this guy called Brian Dugan who's acid house Pioneer just crazy noises elephant noises syns all these things and we kind of came up with that but then there's other other things that people don't notice so there's this sound which is let me see if I can get up on here this is me screaming so that was recorded at Abby Road I was doing a project there and we were using these really insane old mixing desks which was sort some stuff the beetle stuff was done on you know you look at this mixing desk there's a gazillion things there but on this they have like four channels and a few knobs and they look like something that comes from like uh the Cold War um but they have the most like dastardly distortion on them that just is insane we were trying to stuff up where we cranked the Distortion at the highest level and then I did some stuff and we just recorded this scream so this is just one [Applause] scream and so that's me screaming through this Distortion and then you can kind of put a filter on it and that's one of like the very subtle textures that's hiding behind the prowler um noise a lot in these scenes and it's something that you don't really notice but it creates a sense of unease it creates a sense of tension uh and a sort of Darkness that that character needs so we did a string session with a bunch of strings and these are the the sort of chords that open up the film and then one of the things we did with those strings was I was very keen for this not to sound like a conventional you know Hollywood film and that meant approaching every sound every element of the film in a in a way to make it feel new and exciting and so you know we'd record a big Orchestra and then we'd stick them through guitar pedals or crazy effect [Applause] [Music] boxes after that we start to have alongside the strings we have this kind of very dark visceral base sound a lot of the Sounds in this movie created through lots of what I call research and development where we made loads of sounds have a great assistant from Alex um who together we just spent ages going through noises experimenting and then trying to find the right kind of textures and noises really that will work in this environment and this was one I became a big part of trying to capture the sort of Darker underbelly of the movie I always loved this sound so and you hear that sound hinted at the very beginning of the film but really it comes to its sort of life here and I feel it kind of reflects this new prow as kind of the lights the technology it's got a color to it that I think really represents that moment in the scene so we then get this BAS drum Ki kick in see if I can find that so for me like with this movie it's so important to be able to take this hybrid approach of electronic elements hip-hop elements orchestral elements Rock elements sound design this Baseline for me is a very inspired by a lot of modern hip-hop production sort of 808 subie low end I was trying to use that to take the place of the low end of the orchestra so the bottom of the the track would be driven by this beat but what's also really important in this scene is it sets this beat up but we then pull it away so we have this noise uh which for some reason we called Argentina dots when you create noises you give them all these stupid names because it's very hard to describe what a sound is but this was a great sound and what I love about this moment is you've got miles on one side and you've got this other version of Miles and we had the break and then I wanted to question like this sound for me is like what the hell's going on here here and then pretty quickly you come out of that question into like I love this string line so you're keeping just questioning going and when he says they call me the prowler we bring in the prow sounds I mean it's not rocket science but the thing is when you've when you've created all these noises that are like hopefully recognizable within a second or so you can then use them to create a much bigger pallette and a much bigger thing of Storytelling we've got the strings coming in so strings sound like this let's back that on some Electronics so we have Electronics doubling the same line we've got the questioning Argentina dots but we've got the white noise coming in underneath it so if we go start any everything else in now we'll add in the prowess house so this [Music] continues so during their this moment they're both kind of head to-head we keep this going nothing's happened in the scene [Music] yet and for me it's to see where the storytelling moves so there we have this really big time stretched version of the prow sound which again just feels really visceral really uncomfortable it's a new Twisted version of the prowler theme we've heard from the first film because this character is a new Twisted version the prowler and we're now going from Miles meeting miles into the bigger story so I want to I wanted to make to score start to build and take us on a like a wider landscape a wider Journey so we start bringing in the cords from the beginning so here we start to see spot and I wanted to bring back what I call like miles's Destiny theme because for me it's kind of one of the cause of these stories there's there's two themes in this there's the Spider-Man and this is kind of miles and that it doesn't just relate to miles it's kind of about whenever there's an important destiny fate moment for miles or all the characters and it's cor it's miles but it can relate to bigger story beats so you can hear that in here let's have a [Music] listen then we have on top of that the other chords there's a lot going on in this track and it's like there's a lot going on this track so so we got that's just the strings then I think we also have maybe B so that's just a b but then we also have things on top of that like this is the first introduction of this is some record scratching by Blakey so this is pushing us towards this final moment so we have that underneath which is is is a device sometimes for miles but is a device just to push the momentum and the and the the sort of Step akes so when we see spot there's also a hint back to like the spot theme when we first see spot underneath all this because the film opens with the drumming and for me the drumming is both Gwen and punk this is the first time we start to move from the electronic drums towards the real drums because we're about to meet Gwen it's taking it this this track from a different world we started off head-to-head electronic dark and now I wanted to bring the band elements in so this is the first bit where we start hearing we spent so long on this queue it is such a delicate piece of music to go from this like electronic drum break into a live drums all these different elements and trying to pull them together into like a coherent piece so we got the drum machine coming in like with the white noise and then doing the same be so both doing the same beat and eventually we're going to move towards Gwen her band world and move away from the electronic electronic world let's put the symbols on [Music] it let's put the hot rods in so they're doubling the high hats in the beat so we'll put the beat in let's put the real drums [Music] in just this Rhythm Section is like days and days and days of work just to get those eight bars tons of different locations different rooms different [Music] musicians another another of the crazy electronic experiments there again this is all big research and development phase and now let's put the uh all the different layers of percussion [Music] in let's put a b more syn in let's put the B bye-bye to the hip-hop drum okay and now let put the electric the real base now let's put the electronic drums in and now let's put the live drums in so we got this and then we are seeing Gwen for the first time Gwen you know it's like here comes the Cavalry and I wanted to hold off cuz I would have really wanted to put in this noise so this sound [Music] here is kind of me cheating because it's really where I want to put the Spider Man Rift but the picture doesn't it's not ready for the picture here it's holding off key moments of Music until the storytelling is there as as well and that's one of the hardest things with creating a scene like this is trying to make the whole thing feel simple and feel like a piece of music that you're not hitting every you know thing like this it just wants to feel sort of cool and elegant even though this is not necessarily An Elegant piece it's quite a rough piece but it wants to feel natural this is the bit when we first see Gwen so I'm like this is the moment where I want to hear the Riff the guitar riff and the the the the sense of okay stuff's now starting to change so let's just hear [Music] [Applause] [Music] that so there's like kind of like band line up we've got three different guitars on this so here's just one guitar that's a low like guitar that's going through really gnarly fuzz pedal a big fan of but doesn't cut through a lot so let's go for another guitar we got this guitar quite high up again it's a different frequency range let's try this one that's your really big rock one but you put them all together and you get a stack sound and it's a bit like looking an orchestra like with an orchestra you have the cellos and bases down here Viola's here violin's up here if you want to make something really big boom boom boom put it on like three different octaves four octaves five octaves whatever and play the same thing you get a huge sound so it's like trying to take those kind of approaches into instruments like guitars anything else so let's we have these guitars but now we've also moved to the Bas you heard at the beginning of the film beginning of the film he drums you hear this Rift and you hear this [Applause] [Music] Baseline again Gwen's world we beginning is a sort of you know she in a band um I wanted to get that sort of late '90s aesthetic and then also have an echo of like Punk's aesthetic so we've got so we've got the guitars the bass some electronics and a bunch of percussion [Music] now we're bringing the cords in again you heard from early on the screen cords these are going to build [Music] again the cords you heard at the very beginning of the film this is the end of the film this is like okay we're now bringing everything into this final piece this final push you remember the film here the beginning and you can hear how these strings are treated in a way that feels sort of more unusual that's s being very clever okay and the other thing with these strings is they're moving up they're moving up and up and up which is pushing you towards this ending of of a big moment and that's a thing I love doing in music is pushing people towards a point where there's a payoff for me it's like having a point a change and then moving to if you can get to a moment where everything comes together and you're like waiting for that moment and then it lands which is kind of the very last bit in the film again unresolved but miles is TE coming in but listen to the base the base is still moving until we get the final bit and then everyone's just playing [Music] and then big trip [Music] F the thing for me that's most exciting about this scene is the last I don't know 20 seconds of this film is literally just score you know everything is being told through no other medium except music and the excitement that I hope people have for the next chapter of this story the kind of anticipation they have for for those characters Journey hopefully is all encapsulated in this one piece of music and you've gone from something at the beginning it's very dark and mysterious into a question into threat and then into this kind of moment of release and then this moment of like okay let's do this I'm [Music] [Music] thatf called Sinister 6 cartel on the is nobody going to try and stop them [Applause] [Music] your dad is still alive what your father you said he's still alive yeah who are you [Music] I'm miles but Alice but you you can call me the prowler if I don't get home our dad is going to die your dad please you have to let me go why would I do [Music] that [Music] [Music] a don't never found the right vanand to join so I started my own with a few old [Music] friends [Music] [Music] you want [Music] in no

Channel: Sony Pictures Animation

Views: 136,166

Keywords: Sony Animation, Sony, Sony Pictures, Sony Pictures Animation, Marvel, Marvel Studios, Spider-Man, Spider-Verse, Miles Morales, Gwen Stacy, Spider-Woman, Spider-Gwen, Spider-Man 2099, Multiverse, Phil Lord, Chris Miller, Shameik Moore, Hailee Steinfeld, Across the Spider-Verse, Spider-Man: Across the Spider-Verse, Comics, Marvel Comics, Stan Lee, Kemp Powers, Joaquim Dos Santos, Justin K. Thompson, Superheroes, Oscars, The Academy, Film Score, Daniel Pemberton, Composer, Score

Id: 0A0hjETQVMQ

Length: 22min 2sec (1322 seconds)

Published: Fri Dec 22 2023