By E. Corrado
Back on February 5th, we reviewed the film Dear John, which is based on the Nicholas Sparks novel of the same name.
Below is a short interview about the scoring process for the film, with composer Deborah Lurie.
When did you find out that you would be doing the score for Dear John? It was shortly after I completed my score for 9, actually. I had just flown back from the 9 sessions in London, and before I knew it, I was back on a plane to meet with Dear John's director Lasse Hallstrom in New York.
Have you seen the finished film? Absolutely! And they give you free popcorn at the premiere - it's awesome.
Were there any challenges that you felt you faced while working on Dear John? It was MUCH different scoring an entire film via email with the director. The director was actually in Sweden during the time I scored the film, so communication was much more difficult than in past movies.
Where was the score for Dear John recorded? In Los Angeles, at the Eastwood Scoring Stage on the Warner Brothers Backlot.
Were there any instruments that you wanted to focus on for Dear John? Yes! I wanted the guitar to play out over the orchestra. This was a sweeping, but modern love story. I wanted that to come across in my score.
Did you play any of the instruments? The synths!
What was your favorite part of doing the music for Dear John? The people. The team was full of characters - and since it was a New York - based project, the team was completely new to me. Getting to know everyone was incredibly fun and rewarding.
Can you tell us about any other upcoming projects that you are working on? Sorry. Top secret.
A big thank you to Deborah Lurie for taking the time out to answer these questions. You can also read a previous interview with her from September for the animated film 9, here.