Marco Beltrami is an American composer and conductor with over 30 years of experience in the industry across many medias including film, television and video games. A two time Oscar nominee and a Primetime Emmy Award winner as well as countless additional awards and achievements, Marco’s extensive work includes composing soundtracks for the entire Scream franchise, Halloween H20, The Faculty, Blade 2, Terminator 3, Hellboy, The Thing, A Quiet Place and The Fear Street Trilogy and of course Resident Evil (2002) to name only a few. We are truly honoured that Marco accepted our invitation and agreed to conduct this interview. Marco’s work on the Resident Evil movie continues to thrive on to this day with the original score being reused in the movies sequels and the main score being one of the most popular used themes for Resident Evil content on YouTube. Without further ado please enjoy the following interview with Marco Beltrami.
PU:RED: Thank you so much for your time Marco we are thrilled you could join us and agreed to answer our questions. To begin could you please give us some background regarding your career. What were your inspirations to become a musician and then ultimately a composer and conductor?
Beltrami: When I was little I wanted to play music so badly I would try to build my own instruments until finally my parents broke down and got me an old piano. I found I like playing but I liked to write my own ideas more and after going to college to become a… geologist…!? I was finally allowed to pursue music composition after I got into Yale School of music on scholarship. After that I moved out to CA where I studied with Jerry Goldsmith (who was one of my musical idols along with Ennio Morricone, Bernard Herrmann and Nino Rota) for a year before pounding the pavement myself.
Beltrami: When I was little I wanted to play music so badly I would try to build my own instruments until finally my parents broke down and got me an old piano. I found I like playing but I liked to write my own ideas more and after going to college to become a… geologist…!? I was finally allowed to pursue music composition after I got into Yale School of music on scholarship. After that I moved out to CA where I studied with Jerry Goldsmith (who was one of my musical idols along with Ennio Morricone, Bernard Herrmann and Nino Rota) for a year before pounding the pavement myself.
PU:RED: Could you share with us a little information about how one would normally compose a soundtrack for a movie. Do you begin by seeing a script, footage from the movie, a basic plot synopsis or does it vary for each project?
Beltrami: It really varies with each project, sometimes (like with Snowpiercer) I started writing before they shot and director Bong used some of my music on the set. Usually though the movie is shot and I have some sort of director’s cut or rough assembly.
Beltrami: It really varies with each project, sometimes (like with Snowpiercer) I started writing before they shot and director Bong used some of my music on the set. Usually though the movie is shot and I have some sort of director’s cut or rough assembly.
PU:RED: Seemingly early into your career as a composer you landed the role to compose for the movie Scream in 1996. Do you have any memories from this iconic soundtrack, perhaps inspirations. I have to mention the bell tolls, lullaby-esque voice and static tone all which can be heard within the first 20 seconds of Trouble in Woodsboro. Do you recall why you used such themes for the Scream soundtrack, are they part of a bigger theme you had in mind before even beginning to compose?
Beltrami: When Wes hired me for the job he said he was taken by an experimental electronic piece of music I had written using this singer Rose Thomson whose voice was haunting. When I wrote “Sidney’s theme” we used her to sing that melody. Also, Wes used a song called “Red Right Hand” by Nick Cave and I wanted to incorporate a bit of that feel into my “Trouble in Woodsboro” track (like the tubular chimes).
Beltrami: When Wes hired me for the job he said he was taken by an experimental electronic piece of music I had written using this singer Rose Thomson whose voice was haunting. When I wrote “Sidney’s theme” we used her to sing that melody. Also, Wes used a song called “Red Right Hand” by Nick Cave and I wanted to incorporate a bit of that feel into my “Trouble in Woodsboro” track (like the tubular chimes).
PU:RED: After composing the Scream soundtrack you appear to have went on a roll composing for thriller/horror movies. I’ve seen you mention in other interviews you never really enjoyed horror movies, do you think this can help when creating a horror themed soundtrack, bringing a fresh take perhaps?
Beltrami: It definitely did for Scream. I had no experience with the genre and as a result my score was a bit over the top and a bit operatic in a fresh sort of way. Yes, I have a hard time with watching horror movies. I think I have enough anxiety with life in general…:)
Beltrami: It definitely did for Scream. I had no experience with the genre and as a result my score was a bit over the top and a bit operatic in a fresh sort of way. Yes, I have a hard time with watching horror movies. I think I have enough anxiety with life in general…:)
PU:RED: What does it feel like to see your soundtracks in the movies upon them releasing? Do you recall going to the theatre to see the movie and hearing your soundtrack for the first time? Is there any soundtracks that surprised you and when seeing alongside the movie played out better than even you had expected?
Beltrami: While the first time you hear your music in a theatre is very exciting (Scream was my first theatrical film and I remember the theatre was packed and I was nervous) there are always some unexpected surprises the first time you see any movie you’ve worked on. Pieces (called “cues”) can be moved around to new spots, elements remixed within cues, edits made, and overall volume either much lower or louder than you expected. Sometimes it can distract me from the movie!
Beltrami: While the first time you hear your music in a theatre is very exciting (Scream was my first theatrical film and I remember the theatre was packed and I was nervous) there are always some unexpected surprises the first time you see any movie you’ve worked on. Pieces (called “cues”) can be moved around to new spots, elements remixed within cues, edits made, and overall volume either much lower or louder than you expected. Sometimes it can distract me from the movie!
PU:RED: How do you prepare for different genres? For instance in 2018 you composed the soundtrack for A Quiet Place a post apocalyptic horror and then followed this up with Free Solo a documentary about Alex Honnold a free solo climber. Do you get your mind into a different head space perhaps watch some scary movies for a project like A Quiet Place and go on a hike for Free Solo?
Beltrami: Haha! Actually I think watching Free Solo was scarier than most scary movies! No, its all about getting inside the characters, finding the emotional core of the film and then creating a musical identity for that.
Beltrami: Haha! Actually I think watching Free Solo was scarier than most scary movies! No, its all about getting inside the characters, finding the emotional core of the film and then creating a musical identity for that.
PU:RED: Do you recall composing for Halloween H20 or The Thing 2011 movie, any memories of getting to rework John Carpenters music?
Beltrami: Yes, I remember being picked up from my brothers wedding by a car sent because they needed a replacement score asap and I had 8 days to do it (for H20). They (Bob Weinstein) specifically wanted an original score.
For the Thing my partner Buck Sanders and I had a great time using the original as inspiration and playing around with aeolian harps to tune the wind.
Beltrami: Yes, I remember being picked up from my brothers wedding by a car sent because they needed a replacement score asap and I had 8 days to do it (for H20). They (Bob Weinstein) specifically wanted an original score.
For the Thing my partner Buck Sanders and I had a great time using the original as inspiration and playing around with aeolian harps to tune the wind.
PU:RED: Sticking with John Carpenter in an interview with Paul WS Anderson he stated that he wanted the score to align with Carpenters earlier work but updated for the 21st century such movies included Assault on Precinct 13, Halloween and The Fog. Do you recall Anderson asking for this style in your score for Resident Evil. Anderson stated that he was a huge fan of your scores for Scream and Mimic.
Beltrami: Im sorry I don’t recall. Very possible he did ask for that…
Beltrami: Im sorry I don’t recall. Very possible he did ask for that…
PU:RED: Several sources list a collaboration between yourself and Marilyn Manson. Marilyn stated that he wanted to mix in elements of children type themes such as Alice in Wonderland. Is this something you recall, when working alongside Marilyn? How was the overall experience with seemingly two very different worlds colliding.
Beltrami: Yes, I thought it was a lot of fun. I remember sharing some sounds we had each created for the gig and had a few meetings together to share our cues and make sure the score sounded cohesive. I remember being very impressed with what he came up with. I also remember him being very punctual for the meetings which I appreciated because I always am. :)
Beltrami: Yes, I thought it was a lot of fun. I remember sharing some sounds we had each created for the gig and had a few meetings together to share our cues and make sure the score sounded cohesive. I remember being very impressed with what he came up with. I also remember him being very punctual for the meetings which I appreciated because I always am. :)
PU:RED: Paul Anderson stated that when producing the music one day it sent one of the crews dog wild, they realised it was some underlaying tones that Manson had put into the music that drove the dog wild. Anderson adds that Manson was intentionally adding these underlaying tones with the intention of driving people mad much like the dog. Do you recall this event?
Beltrami: Haha! Yes I think I do. Very creative!!
Beltrami: Haha! Yes I think I do. Very creative!!
PU:RED: Do you recall when you were hired for the Resident Evil 2002 movie? Any memories of meeting with Paul WS Anderson or any of the Japanese Capcom team?
Beltrami: I don’t remember when, but I do remember Paul being very articulate about the project and feeling very inspired just talking about it. I don’t remember if that was after I had screened it or before…
Beltrami: I don’t remember when, but I do remember Paul being very articulate about the project and feeling very inspired just talking about it. I don’t remember if that was after I had screened it or before…
PU:RED: Have you seen the Resident Evil movie or perhaps played any of the video games?
Beltrami: Ive seen the movie but have never played the video games
Beltrami: Ive seen the movie but have never played the video games
PU:RED: Do you recall if you played any of the games or listened to the games soundtracks in preparation for composing the soundtrack? You seem to have understood the style of Resident Evil music with your score for the movie.
Beltrami: I really think it was all from conversations with Paul and Manson. We all came up with a concept together. One thing I do recall was that Buck Sanders had made a bunch of great sounds for another project we were doing at the time—“Blade 2” and I remember him being annoyed because I used a lot of them for RE. They just seemed so perfect for the atmosphere of the movie!
Beltrami: I really think it was all from conversations with Paul and Manson. We all came up with a concept together. One thing I do recall was that Buck Sanders had made a bunch of great sounds for another project we were doing at the time—“Blade 2” and I remember him being annoyed because I used a lot of them for RE. They just seemed so perfect for the atmosphere of the movie!
PU:RED: It’s unfortunate that you were never asked to compose again for the series, do you recall ever being contacted about returning for any sequels?
Beltrami: No… but its possible they contacted my agent?
Beltrami: No… but its possible they contacted my agent?
PU:RED: Are you aware that your soundtrack went on to be used throughout the rest of the Resident Evil movie series? In particular Prologue & Main Title became somewhat the official main track for the movie series with sequels making variations of your original track.
Beltrami: I actually had no idea…that’s very cool!
Beltrami: I actually had no idea…that’s very cool!
PU:RED: According to your Wikipedia page it states that you originally composed a rejected score for 2004’s Alien vs. Predator movie, could you please share any information regarding this?
Beltrami: Really?? lol! Not only did I never write a score for this movie, I never even had a meeting for it!
Beltrami: Really?? lol! Not only did I never write a score for this movie, I never even had a meeting for it!
PU:RED: Finally are there any upcoming projects you wish to share and where can fans follow your work?
Beltrami: Well I haven’t done much other video game scoring. I wrote a score for a game called “The Ripper” but I don’t think EA ever released it. I also wrote the character themes for “Fortnite” which Pinar Toprak then adapted to score the game.
My most recent project is an animated sci-fi show on AMC called “Pantheon” that I co-scored with Buck Sanders and Brandon Roberts.
Beltrami: Well I haven’t done much other video game scoring. I wrote a score for a game called “The Ripper” but I don’t think EA ever released it. I also wrote the character themes for “Fortnite” which Pinar Toprak then adapted to score the game.
My most recent project is an animated sci-fi show on AMC called “Pantheon” that I co-scored with Buck Sanders and Brandon Roberts.