InterviewsMusic

INTERVIEW: Composer Alec Puro Discusses Good Deed Entertainment’s All Nighter, MTV’s Sweet/Vicious & More

Alec Puro has scored everything from feature films, documentaries, television shows to video games. With such a diverse resume we decided to speak with Alec about some of his previous projects, along with his most recent film All Nighter, which is now available everywhere on VOD and how he goes about approaching each one. Read the full interview here:

-Your most recent film is the comedy All Nighter, now available on VOD. Musically, what was your biggest challenge with this film?

The biggest challenge of scoring All Nighter was keeping up with the pace and drive of the film.  Once Gallo (J.K. Simmons) shows up at Martin’s (Emile Hirsch) house and they proceed to go out and start looking for Gallo’s daughter Ginnie (Analeigh Tipton) the forward momentum of the film kicks off and we don’t stop moving until they find her. It was a lot of fun because the root of the score ended up being super percussive to give it a lot of that drive so I got to play drums on all of the cues which I don’t always get to do.

-The entire score was released from All Nighter a few weeks ago. If you had to pick one track from the film that you think best represents your music which would it be?

I don’t think there is one single track that completely represents my overall direction as a composer.  Each score I get to do is so different because the film or show really dictates what the tone of the music should be.  Some tracks from the All Nighter score I really like are Porn-Driving, Car Ride to Ginnies and the banjo bonus tracks.

-Did you create specific themes for the characters in All Nighter? If so, which one was your favorite to create?

I did create some different themes for a couple of the characters.  The theme I created for Martin (Emile Hirsch) and Ginnie (Analeigh Tipton) came out nice and sweet I think.  I enjoyed writing their theme since it’s centers around their relationship and has a different sound than the rest of the film.

-If you could collaborate with another composer on a film or tv project who would it be?

Brian Eno.

-You have scored MTV’s Sweet/Vicious and Freeform’s The Fosters, 2 very different shows. Is one genre easier to score than the other for you?

One of the things I like most about being a composer is that every project is different so you get to switch it up and try new things every time you start something new.  In the case of The Fosters vs Sweet/Vicious they are both genres I’m very comfortable writing in and I really enjoy the challenge of how vastly different they are.

-You have scored both tv shows and films. What is the biggest difference between scoring tv shows and films? Lets say The Art of Getting By and Sweet/Vicious for example?

The only thing that’s really different in the process for me is the time factor.  With a film you usually have a pretty good amount of time to create a score.  In TV there is always a very limited amount of time to create the score for each episode.  I really enjoy both ways of working!

-The film/tv landscape has changed dramatically in the last few years between all the streaming channels like Netflix and Amazon. How do you think this has changed the composing world?

I think it has created a lot more opportunities to work on great new projects.  Someone mentioned to me the other day that there are around 500 TV projects in production across all the different platforms that now make shows available. The variety of shows being made right now is more diverse and exciting than ever before.

-Next up for you is the film A Happening of Monumental Proportions, directed by actress Judy Greer. What can you tell us about that project? What was your working relationship like with Judy, was she more hands on with the direction of the score?

I’m really excited about this film, Judy killed it!  She was so collaborative and involved in coming up with and shaping the sound of the score.  We definitely experimented with a lot of cool sounds and different musical directions before we found what was working best for the film.  This is the first film where I’ve gotten to incorporate vocal harmonies into the score ala the Beach Boys.

You can learn more about Alec at www.alecpuro.com.

The Author

Jim Napier

Jim Napier

Geek with a voracious appetite for movies, technology, social media and digital marketing.

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