Film Score Work

Boo Bernstein · Post by **Boo Bernstein** » 21 Dec 2005 12:39 pm

There were some questions asked about the pedal steel work I did on “Brokeback Mountain” and I’m happy to discuss that specific subject. First, I must say that this was a great musical experience – Gustavo Santaolalla is a truly gifted musician and producer. He’s considered the “George Martin” of Rock En Espanol music and was recently awarded the Latin Grammy for Producer of the Year. His partner Anibal Kerpel is equally talented. Together, we all had a blast recording the music and I am quite proud of our work.

Here’s some background information on the sessions. (Forgive me if this goes on too long.) I had known Gustavo through my former life as the head of corporate communications for Universal Music Group – Universal has a joint venture with him for his label Surco Records. We often talked about music instead of business – Gustavo has a great passion for many different genres of music and was quite interested in pedal steel. In addition to his gigs as both a producer and an artist, he made the move into film scores a few years ago and created the acclaimed soundtrack for “Motorcycle Diaries.” Having heard that soundtrack, Ang Lee was interested in having him as the composer for “Brokeback Mountain” and wanted to hear what Gustavo’s ideas would be for the project. Gustavo created a series of cues – very ambient-sounding music, using mostly acoustic guitar with some other instruments like harmonium and glass harmonica. Then he thought that pedal steel could be another ambient-sounding instrument that could say “cowboy” or “country” without being too overt.

Gustavo had never worked with a pedal steel before. I went to his studio and we played for many hours overdubbing steel onto his cues. It was a really challenging but stimulating exercise. There were no charts. I would often ask him to play the guitar part so I could see the specific notes he was playing -- there were chords he played that did not necessarily sit naturally on the steel, so it sometimes took me a while to find the right voicings. Gustavo was great in pushing me musically – helping me stay away from anything too trite and thinking in broad musical strokes. When Ang Lee heard the cues, he was thrilled – and, actually, most of the work we did that first night was used in the movie. He later had the orchestrations done based on our original cues. I went back and overdubbed steel over those string parts.

Gustavo was also called upon to create the “source” music for the film. So a few weeks after the original sessions, he called me to play on the songs that he had written. In one day, we cut the majority of tracks for those tunes live.

For the sessions, I did most of the work on my Emmons LeGrande III, a Peavey Session 500 amp, and an Ibanez Echo Machine (one of their inexpensive “Tank” series). For the overdubs with the strings and the Emmylou Harris track, I played my Emmons p/p through a Peavey Nashville 1000. Although not credited, I played a bit of dobro on one of the tracks – it’s an inexpensive Regal. I’ll have to ask them which microphones they used – I think they were Shure SM 57s.

Thanks again for everyone’s interest and all the kind words. Best wishes for a happy holiday. Boo

Jon Light · Post by **Jon Light** » 21 Dec 2005 12:47 pm

Thank you Boo. I was just about to post a request for you to discuss this. Congratulations on this very cool gig. I look forward to enjoying your work in this film.

Mike Phillips · Post by **Mike Phillips** » 21 Dec 2005 1:09 pm

Boo -

Thank you so much for this post. You pretty much covered everything I was interested in, and in such a way that I could really get a visual sense of what went down.

I first became aware of Santoalla from his soundtrack to "21 Grams" which features haunting tremolo guitar and drum loops. And I got really psyched to see that he was doing the score for "Brokeback". These two soundtracks are a real inspiration, as is your post about the making of the music.

So thanks again!

Mike

Miguel e Smith · Post by **Miguel e Smith** » 21 Dec 2005 2:00 pm

Hey Boo,

Thanks for the details. I too look forward to listening to your work.

Mike www.mikeandt.com

Paddy Long · Post by **Paddy Long** » 21 Dec 2005 2:28 pm

Yes congratulations Boo -- it must be a huge buzz to get called to do a movie soundtrack -- I'm still waiting for Peter Jackson to give me a call for one of his local epics !
I look forward to hearing your stuff.

Grant Johnson · Post by **Grant Johnson** » 21 Dec 2005 3:00 pm

Thanks Boo! I have to run over to Barnes and Noble tonight for some last minute gifts. I am going to treat myself to the soundtrack.

<font size="1" color="#8e236b"><p align="center">[This message was edited by Grant Johnson on 21 December 2005 at 03:00 PM.]</p></FONT>

Charlie McDonald · Post by **Charlie McDonald** » 22 Dec 2005 4:22 am

Really looking forward to hearing this. There is nothing like pedal steel to set the tone or provide the audio texture for film.

Al Terhune · Post by **Al Terhune** » 22 Dec 2005 6:35 am

I love it -- the Session 500. My favorite Peavey (although I've not heard the 112).

Al

Jon Light · Post by **Jon Light** » 22 Dec 2005 8:37 am

Out of curiosity, how/why the choices of axe & amp on the different sessions? Just happened to be what you had in you pocket that day or was there a musical or sonic idea in your head about the different options?

Bo Borland · Post by **Bo Borland** » 22 Dec 2005 11:41 am

And how about all the OSCAR buzz for this movie..

Boo Bernstein · Post by **Boo Bernstein** » 23 Dec 2005 1:32 pm

Jon, there was no grand plan for the equipment I used. With the counterforce mechanism and its compensators, the LeGrande III tunes up incredibly true so I often use that for recording sessions. I had used the Session 500 for many years. Later in the year, I sent my LeGrande back to Emmons for some repair work and to add a few more knee levers. During that time, I also bought a Nashville 1000. When I got the call to do some overdubs, I pulled out my old p/p and used the N 1000.

Thanks again to everyone for your kind words and support. (Mike Smith, I am a fan of your playing!) Happy holidays. Boo

DJ Sillito · Post by **DJ Sillito** » 28 Dec 2005 10:01 am

Hey Boo,
I started another post about playing your steel parts in the movie. Sorry I should have posted it here.
Darren J

------------------
Darren James Sillito
Mullen D-10, 8p5k
Nashville 400, PodXT

Bob Blair · Post by **Bob Blair** » 28 Dec 2005 1:50 pm

Boo, I ust got back from seeing the movie - I really enoyed your work. Congratulations.

Boo Bernstein · Post by **Boo Bernstein** » 1 Jan 2006 10:44 am

Hi, Darren -- I just read your other post (I didn't have access to a computer for the last week.) Congratulations on getting to appear in the film. I just hope that they didn't go by the old joke that I have a face made for radio

It's funny -- I never really thought about the problem of trying to play fiddle silently -- but the band looked completely convincing. Thanks for making me look like I knew what I was doing!

Happy New Year to all! Boo

Bob Blair · Post by **Bob Blair** » 1 Jan 2006 11:20 am

I was just talking to the President of IATSE Local 212 (my client, whose members worked on the production) and the first thing he asked me was how I liked the sound track, because of all the pedal steel.

Ben Lawson · Post by **Ben Lawson** » 1 Jan 2006 5:24 pm

Hey Boo I wasn't going to see that movie but now that I know that you are involved I will. I'll look for the "silent fiddler" also. Congrats to both you and Darren.

David L. Donald · Post by **David L. Donald** » 1 Jan 2006 7:42 pm

I have seen “Motorcycle Diaries.” and " 21 Grams.
Both very different in their musical styles.
This bodes very well for Brokeback Mountain's score too.

It might be quite awhile before I can see this one down in these parts.
Don't even know if will get down here intact.
Editing might be hard on "Katoey, Kowboys from Kansas.

Boo congrates on such a great gig.
Film scoring can be a great free thing,
compared to pop or country work.
So many more opportunities to be creative,
if you are with the right crew.

Good luck come Oscar time!
DD