Onlinemagazin für Film und Filmmusik

“3:10 To Yuma” is your second western score after “The Three Burials of Melqiuades Estrada”. In which way the movies differ and what are similarities and differences in your approach of scoring the two movies?

Well, the 3 burials isn’t really a western, although there are some western elements to it.  I suppose the similiarities are that both are a combination of electronically manipulated accoustical sounds with select chamber orchestra.  However, in 3 burials, we used more organic, native american sounds (like the plucked sautillo cactus) whereas in “yuma” it was more a selection of 19th century period instruments such as pump organ and tack piano to combine it with orchestral sounds.

There is a strong rhythmic connection between percussions, guitars and strings. How important was it to you to present these elements as one unity?

They should all contribute to a unique rhythmical identity to the film.  I have found string instruments to be great rhythm instruments!

In “Yuma” there is little melody, but very significant on certain cues like “Bible Study”. How do you decide, how much theme and melody a film score needs?

The picture originally used the melody more throughout, however many scenes worked fine just using the supporting music and saving the melody for later.

During the finale, we hear a strong reference to Ennio Morricone western classics using the trumpet. What is the aim behind that?

Morricone has always been a great influence on me.  My idea was to approach this film the way he approached his westerns--incorporating real sounds and putting together disparate elements (such as the grandfather clock chime we use as a rhythmical identity for the charlie prince character), and by the time I got to write “bible study” it just seemed so right to include a trumpet melody with the guitar even thought the style of playing is definitely reminiscent…

Thank you very much.

Jan Zwilling / 29.10.07