yellowstone wouldn’t be complete without the sweeping orchestral sounds that open each episode. And naturally, it was all Taylor Sheridan’s idea to make the title sequences big and dramatic, said composer Brian Tyler, who joined his colleague Bretton Vivian at Deadline’s Sound & Screen event, which produces the Paramount Network drama and Paramount+ focused on the larger of the two. prequel 1923.
“He was writing yellowstone And thinking he wanted to take a very cinematic kind of approach. He wanted orchestral music and he wanted something very emotional that also explored the dark side, which is dynamically mirrored against beauty,” Tyler said. “It’s like where tragedy is beauty and you understand one because of the other. So I met up with him and, you know, he has his cowboy boots on and everything and … he’s amazing. We just did the music.” and… just figuring out the story. And then all of a sudden I found myself writing the first part of the script. And this yellowstone became the subject.
Vivian brings an eclectic background to his creation 1923, Yellowstone prequel. English-Australian musician who played in a punk rock band in the UK.
“I think that style of music lends itself well to this because … you’re playing a cello like a guitar or just trying to destroy instruments in a way that’s a little more rugged and Can feel cowboy and western,” Vivian said.
“It’s true,” Tyler added. “When I met Taylor, I was saying, ‘I don’t think we should do … what Hollywood thinks is musically Western. ‘” I was really interested in what the music of what we know as the West is, the immigrants who are coming in, the people who are looking for a better home. So instead of a Stradivarius having a beautiful violin playing, it would be a fiddle from Greece or Armenia, all these different things. It was like budget because they were coming up and they would play a dobro or a fiddle around the campfire instead of being musicians who were in the upper strata of society.
Check back Friday for the panel video.