BY CHRISTOPHER LEON
American composer Laura Karpman talks about her past and present scoring projects, and the importance of raising awareness for women composers in the film industry.
Her musical influences stretch from jazz to theatre; modern orchestral to hip-hop. Earlier this year, she was nominated for three Grammy Awards, winning one for her compositions for Ask Your Mama. Karpman is also the co-founder and president of the Alliance for Women Film Composers. In the latest CutCommon Global feature, we asked Karpman about her experiences, what it was like to work with Steven Spielberg, and the challenges of composing for TV and film.
You’re the co-founder and president of the Alliance for Women Film Composers. How did the alliance come about?
The alliance was founded by my dear friend Miriam Cutler and me in late 2014-early 2015. We were very inspired by a lunch in August of 2013, which Doreen Ringer-Ross (vice president for film music at BMI) held at BMI for women composers. It was a chance for many of us to meet for the first time, enjoy lively discussion and camaraderie as women, but even more, as composers. At the end of the event, a group picture was taken and posted to Facebook. And then, the most extraordinary thing happened. The photo went viral – hundreds of comments, maybe more, many people saying they had no idea there were so many women actively composing…the invisible became visible. Miriam Cutler and I discussed this phenomenon at length. How could we continue this kind of exposure for all of us?
Why is it important for you to showcase the work of women in film composition?
Because for some reason, and I really don’t know why, we are invisible. I know the argument is often made that there are not a lot of women composers, but this simply is not true. There are hundreds, or maybe even thousands of experienced [women] composers in our community. And it’s time we are seen – and even more importantly, heard!
How did you come to work with Steven Spielberg on the miniseries Taken?
The folks at Dreamworks heard a score of mine for a television series called Odyssey 5 and they took it to Spielberg. I then composed a series of demos based on the scripts for the series and got that wonderful job!
How was the experience? As a composer what challenges did you face?
It was a fantastic experience. The series was terrific, I got to score 10 two-hour movies with an orchestra. It was really like writing a Ring cycle for television. The score utilised leitmotivs that were heroic, demonic, romantic. All of it.
What are the different approaches you have taken when scoring for TV, video games, film, and multimedia, such as Ask Your Mama?
Really, I don’t use different approaches. I am a single composer. A single artist. Different projects have different requirements technically and emotionally, but I approach every project with intellectual rigor, instinct and the joy of music making.
What musical influences and genres define the ‘Hollywood’ sound?
I don’t think there is a Hollywood sound. I am sitting on a plane now and I can watch the new Star Wars with a score by John Williams, or Youth with a score by David Lang – they couldn’t be more different and both are highly skilled and wonderful.
How did you become involved with Underground and the collaboration with Raphael Saadiq?
Kasi Lemmons brought Raphael and I together on Black Nativity. We loved working together and wanted to work on additional projects. Tony Scudellari from Sony TV suggested us for Underground, and we jumped at the chance!
From a creative perspective, how do you approach composing for TV or film when collaborating with another artist? What are the challenges of creating a soundtrack out of two individual’s personal voices?
You know, it changes every time and it even changes with the same collaborators. Sometimes, I will start a cue and Raphael will then contribute; sometimes the opposite, sometimes we begin together. It really depends on the type of cue, and who has a spark first. Its very fun and ever shifting.
Images supplied.
