BY STEPHANIE ESLAKE
Ever wondered how to compose for television? Downton Abbey‘s John Lunn has some solid advice to share.
John was about 20 years old when he first started writing his own music. “I became quite obsessed with the performance and study of 20th century music and suddenly realised that I could do it myself,” he says.
The Scotland-born composer has scored for television and film since the late ’80s, with titles such as Downton, Bleak House, and Shetland just a few of those under his belt.
While visiting Australia, he takes some time for a chat about what it means to work as a musician in the industry — and reveals his top three tips for television composition.
UPDATE JUNE 2022: The official trailer for the new Downton Abbey feature film has dropped. You can watch it below, and read on to learn how John’s expertise in television has led to this cinematic event.
How does writing music for television affect your identity as a composer?
It doesn’t inhibit my creativity but I’m not sure anymore what is my music, I’ve done so many different things. People say they can tell it’s me, whether it’s Downton Abbey or The Last Kingdom, set a 1000 years apart but I’m not sure that’s true. I’m just about to write a piece for voice and orchestra for a concert and I’m struggling at the moment to know which direction to go in. If there were any pictures to with it, I’d know immediately!
What’s your creative process?
It’s a collaboration with the director or producer. I’ll do a few scenes to establish the right tone, and once they’re happy with the direction I’m pretty much left to my own devices and I’ll probably present the final thing.
What were your biggest challenges in making it into the industry?
Recovering from being turned down for a very good project. Used to take me days, now a matter of hours!
And now you’ve made it – what do you find are the most difficult aspects of compositing for television?
The start is always the hardest, the blank canvas. It’s an enormous effort the beginning of every job and it’s very easy to lose confidence. Even today I still think I’m going to be found out! But the fear of failure is a great motivator!
What advice would you give to young composers looking to make their way in the industry?
Thats a tricky one! It’s definitely harder now, there are more people trying to do it, plus the budgets are tighter and there’s less time. Consequently, no-one wants to take a risk – they always go for someone with experience, which is a shame. I think you have to be able to write music in any style. Producers come to me when they don’t know what kind of music is going to work with their show and they need me to try things out for them.
It’s a great job, can be stressful, but still immensely rewarding. I actually enjoy being part of a team, it’s an industry with very little cynicism. Most people I work with just want to do the best they can.
John Lunn’s top 3 tips for composing for TV
- Always work to the picture.
If you try to write without looking at the screen, the music usually ends up being too complex and musical.
- Never switch the dialogue off.
You are always going to battle with it, and you will always lose. Get used to it!
- If you want people to be moved by what you write for a scene, make sure you are moved yourself.
Otherwise, it probably isn’t working as well as you think.
Images supplied.
