Whether it’s a studio action film or an indie festival film, Composer Andrew Lockington‘s music demonstrates his approach to scoring each project in a unique way by finding a musical language to communicate the relationships and elements of the story that visuals cannot. Andrew’s commitment to pushing the boundaries of film scoring has inspired him to record in places such as the jungles of Papua New Guinea, the tropics of Costa Rica, an ancient temple in Northern Japan, a volcano in Polynesia, and an abandoned subway station beneath central London.
His recent projects include the epic Sci-Fi feature Atlas starring Jennifer Lopez with longtime collaborator director Brad Peyton, as well as several projects with writer/producer/director Taylor Sheridan including Mayor of Kingstown starring Jeremy Renner, Special Ops: Lioness season 2 starring Zoe Saldana, Nicole Kidman and Morgan Freeman and Landman starring Billy Bob Thornton, Jon Hamm and Demi Moore which premiered on Paramunt+ on November 17.
The scores to the powerful shows are wildly different in concept, mentality and overall sonic style. Andrew was quoted talking about Lioness Season 2 and said that it “delves further into the competing psychological voices in the heads of our main characters. The long line melodies of the cellos and basses move in weighted and intentionally bold steps to parallel the constant pressure to steer the nation to safe waters. This musical declaration of ‘nation before self’ is regularly challenged and harassed by the echoes of the foes and innocents they’ve crossed paths with throughout their service – melodic and rhythmic fragments re-organizing and joining forces to challenge their morals and sense of duty.”
With Landman, Taylor Sheridan’s other new show on Paramount+, there’s a tangible line he tethers directly to the dialog. It’s not just the lines being spoken, but how they are delivered, and Lockington immediately took inspiration from the way the Billy Bob Thorton worked each scene. There’s a near musicality in his cadence that (likely because he is also a talented musician) comes out almost like a song. Andrew even locked into the tone of his speech matching some of the musical notes to how Thorton spoke. It’s very deep and interesting stuff, and these kind of tidbits make speaking to composers so fulfilling for us.
Beyond that, there’s so much that any artist can soak in while on set. Sheridan invited Lockington to the shoot and being there was eye, or rather, ear-opening. It was the muse he needed to keep writing themes and cues that were so tied to the story and characters. In fact, the very first musical cue in the show – played leading into the opening credits – was the music that set the tone for the whole series. Lockington likely might have had a less impactful composition had he not been so immersed. Moreover, it’s the great collaboration with Sheridan (who is always very involved in the music) that helps craft these scores in ways that really resonate.
A Canadian composer who loves the Detroit Lions as well as Texas, and is as good at scoring for space and big epics as he is small and intimate projects? It’s no wonder Andrew’s work is so varied and intricate. We had a super fun chat about all that and more. So grab your guitar, a drink, get cozy around the fire, and enjoy this episode of The GoSeeTalk Podcast Experience!
You can get more info on Andrew and his work at his Instagram page. Spoiler: it’s a lot! Landman is now streaming only on Paramount+.
