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Whether it’s scoring reality television or feature film, composer Alan Lazar has made a splash in the industry with over 50 films and television projects under his belt. Now in Los Angeles by way of South African, the veteran composer – known for BBC’s Natural World and Netflix’s The Princess Switch among others – and has an ear for what connects a story to the audience in an affecting way. We chat with Alan to discuss career and his most current project, For the Love of Money, out now!
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I always love hearing about a composer’s background as it’s integral to the whole filmmaking process. I’d love to start off with just about you as a creative and how you became a composer first.
For any creative person I think all our paths are windy roads. Take other careers where it’s more straightforward. Lawyers go to law school, but with creative people we go down twisty paths. Mine started as a kid in South Africa. I was classically trained as a pianist, but then I studied computer science in college for my degree. On weekends I got sucked into this band called Mango Groove, just as a weekend gig for extra cash. It ended up being a successful band in South Africa, and even played at Nelson Mandela’s inauguration. That got me into this creative path. I won a scholarship to USC Film School and studied filmmaking with the intention of directing and screenwriting. But an interesting thing happened. I started writing the music for my friends’ student films. I discovered I really loved that. When I finished school it’s what I enjoyed the most. Since then I’ve directed, I’ve written a novel, but most of my work is composition. I just love the way music connects with stories. It’s the emotional glue of a movie or show. Every project I’ve scored for is different, and the story tells me what the musical need is.
I know what you mean! I went to film school with one intention and realized I love writing most. Now let’s talk about For the Love of Money. Saw the trailer and thought it looked fun. Great cast. It’s cool to see Keri Hilson acting. How did this gig come your way!
The editor Heath Ryan is an old friend of mine. We’ve collaborated in the past. He was hired by producer Melvin Childs. When it came to post, Heath had an instinct I’d be the right fit for the music. I got a look at it and I knew I wanted to be a part of it. So, Heath reached out to the producer. We had several discussions before landing the gig. It’s a wonderful movie to work on. It’s a project I’m so proud of. Keri’s so magnetic on screen. This is her first lead role in a feature film. Katt Williams, Jazzy Jade, D.C. Young Fly, Rotimi, everyone brought their best. They each bring something special to the movie. It was exciting to bring the right score to it. There’s a lot of hip hop in the songs of the movie and it was important for the score to function as a score and provide for the story emotionally, while also connecting to the music used. It all has to feel connected like it’s one thing, so it’s a particular feeling for the score. On the surface it’s a crime drama but on a deeper level it’s about family. That’s what I’m always looking for in a movie when scoring. What’s the deeper theme and how can we all connect to it? We’ve all come from families. The movie’s about our families’ paths and how that impacts us and our choices. Keri’s character has a mom and a dad who made different choices, and how those play out in her life is fascinating.
Being that it does have a strong hip hop flavor, how did you go about adding your own musical DNA to the project?
My band in South Africa blended a lot of pop traditions with African rhythmic traditions. Often scores in American movies tend to be orchestral or melody driven, relying on orchestras and strings for the emotional connection. Because hip hop is very rhythmic, I tried to interweave a lot of rhythmic elements not just in regards to pace but emotions. Rhythm can have a really emotional contingent. Rhythm connects with feelings as much as melody and chords do. Melvin the producer sat in our studio, and it’s nerve racking for producers to listen to the music for the first time after working so hard on the score! It’s unveiling your baby for the first time and hoping people like the music. I started playing and there were only a few notes! I hoped it’d connect with the visuals.
You sat there like, “I hope they like it!”
And that’s the thing. When you’re a songwriter you’re accountable to yourself. When you’re a film and TV composer the producer and director are the boss. You’ve got to deliver for them and the story and the characters. You’re not there to show off your music, you’re there to show off the plot. So that’s how I approach it. I’m there to support.
Without spoiling anything can you share your favorite part of the film?
It’s probably a sequence in the second half of the movie where Keri connects strongly with her mom and her mom gives her good advice about what to do. Unfortunately, Keri doesn’t follow her and it leads to a murder. This forces Keri’s character through a change. I hope it doesn’t give too much away. It’s interesting because her mom and dad became key elements for the score. I don’t want to give much away but there are twists and turns including who they are, and that impacts the story. That’s the core of the movie.
Aside from For the Love of Money, you’ve had a busy season because this was released during Thanksgiving time but you also have something released during Christmas! Tell us about The The Housewives of the North Pole, which is an amazing title by the way!
I scored these two at the same time and are two completely different movies. Housewives is a delicious confection perfect for the holidays. You’ll be amused by it. It has that great holiday feeling. Kyle Richards, who’s known for Real Housewives the reality show, does great work here and is very funny. Betsy Brandt is fantastic here as well. It’s directed by Ron Oliver and is known as the king of Christmas. I think folks will be very amused by it. You’ll be hooked by the title but actually love the film as well.
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Check out composer Alan Lazar at alanlazar.com, on Twitter at @alanlazar, and on Instagram at @alan_ari_lazar.
