In terms of the pandemic, I think by the time we started I was pretty acclimated to zoom. I wanted the music to feel very fluid and natural as though there was no precise click, yet this had to be a sort of illusion as it needed to be frame-accurate. Also, the score has a lot of variations in tempo with big accelerandos and rallentandos. At the same time, I didn’t want it to feel so intentional and tightly synchronized. I had a lot of time to refine the score and that really helps it feel consistent and coherent.Īlthough the score doesn’t sound like a comedy score, it is meticulously timed to the picture hitting very precise moments. Very little of that was revisiting or rewriting, most of the time was spent refining ideas and polishing the details and the orchestration. This score took me about three months to write. I usually throw out a few ideas about the mood I’m thinking of and if Mike really laughs, I know it’s on the right track, but most often I just have to dig in and write and see where it goes. We still did a traditional spotting session. Mike and I have a definite shorthand for working together. You and Mike Judge have worked together on several projects over the years. The only time I broke that rule was when the unicorn shows up. My goal was to have practically no comedy in the new score. The new score also features a love theme and quite a few theremin solos.
There is one, brief quote from the 1996 film in the opening credits where I used the ‘Butt-kong’ theme. In particular, I wrote extensively for brass and was able to include a lot of powerful low trombones in addition to quite a few passages that feature trumpets. The science-fiction aspect to the new film allowed me to really expand the intensity of the score, as dealing with time travel and parallel universes allowed for the music to be even more dynamic and expressive than the spy/action subject of the 1996 film. The 1996 film has about 30 minutes of score and the new film has close to 60 minutes. While both films feature a large orchestra, the new film has a lot more music. How was scoring this Beavis and Butt-Head movie vs scoring the last? What made this score unique and are there familiar themes you brought from your last Beavis and Butt-Head score? In all, he ended up with 60 minutes of music for the film using powerful low trombones and brass to accompany the cartoon duo on their new adventure.
I find myself humming his cues all the time.”įrizzell worked to deliver cues that ran the gamut from emotional to comedic. We like each other’s work, but also John has a combination of qualities that’s really rare to find - someone who is a truly great composer with a vast knowledge of that whole world, and then also really funny and understands where all the comedy comes from, and also writes really great memorable beautiful music. Explained, Mike Judge, “I think there’s a mutual respect there that works.
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