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In the world of documentary filmmaking, capturing the essence of a story often hinges on the perfect blend of visual splendor and a compelling score. James Everingham and Stewart Mitchell, two composers from Bleeding Fingers Music, have woven this blend with their latest project– Amazon’s The Blue Angels.
The Blue Angels isn’t just another documentary; it’s an immersive experience that takes viewers into the heart of the iconic flight demonstration squadron. Everingham and Mitchell aimed to capture not only the high stakes and dangers of the maneuvers but also the grace and effortlessness of the formation flying. Utilizing innovative techniques and unique instruments, they created a soundtrack that mirrors the intensity within the cockpit and the grandeur observed from the ground.
Their collaboration, honed over years of working together, shines through in every note, with each piece of music being a testament to their combined expertise and passion. From the adrenaline-pumping sequence known as ‘the walk down’ to the serene moments of reflection, Everingham and Mitchell have composed a score that is both powerful and emotive.
As this film garners attention as an Emmy contender, we invite you to dive in below to discover their creative process, the challenges they overcame, and the memorable breakthroughs that defined their work on The Blue Angels.
What specific elements of the Blue Angels’ training and performances did you aim to capture musically?
There were two main aspects of the Blue Angels that we wanted to reflect in the music. Not only the high stakes and the dangers of the maneuvers, but also how graceful and effortless the formation flying appears from the ground. These two elements were also juxtaposed visually – you have footage of the performances filmed from the ground, but also from within the jets themselves. That was where the IMAX technology came into play, with the ability to capture both the intensity from within the cockpit, but also the bigger picture that you’d see as a spectator on the ground.
Did you incorporate any unique or unconventional instruments to represent the essence of flight in The Blue Angels?
We knew we wanted to use guitars prominently in the score, so we have the nostalgia factor – but we also wanted to find a way to use guitars in a more textural, atmospheric way. We spent a lot of time looking at different guitar pedals and ended up getting a lot of use out of the Microcosm by Hologram Electronics. If we got the settings just right, we could manipulate sound in a way that was reminiscent of a jet passing overhead. The opening sounds of the show came from this approach – it was important to instantly create an atmosphere of anticipation as you meet the flight crew for the first time.
How did the collaborative process between the two of you work on this project?
The two of us have been working together for a number of years, and so we’ve already developed a shorthand and an understanding of each other’s workflows. For our first score together, it was incredibly helpful to have that experience, so that we could play to our strengths. Every piece of music was a collaborative process from start to finish. Often this meant one of us would begin a scene with a guitar or drum kit idea, and then we would work together to adjust the arrangement further. Sometimes the end result would have only traces of the original idea remaining, but it was important to follow this process to ensure that the music felt intentional and cohesive.
Were there any particular scenes or moments in the film that presented a significant challenge in terms of scoring?
We spent a lot of time working on a sequence that became known as ‘the walk down’, that sees the Blue Angels arrive at Naval Air Facility El Centro for the first show of the season. Early versions felt either too intense, or not ‘cool’ enough – we’re seeing the pilots, complete with aviator sunglasses and silver briefcases, walk in slow-motion down the flight line. It needed to feel iconic and badass while also acknowledging the adrenaline and anticipation that the flight crew were feeling as they put their skills to work after months of training. We worked closely with Paul and the team at Bad Robot to dial in a careful arrangement led by rock drums that builds into a grand orchestral motif as the jets take to the skies. This was a classic example of both of our strengths as composers at play, with close collaboration with the rest of the creative team delivering a sequence that ended up being one of our favourite in the show.
How did the director’s vision influence your musical decisions for The Blue Angels?
Paul Crowder’s musical background had a big influence on the direction he gave us, and he pushed us to achieve a precision in the music that’s on display with the Blue Angels themselves. Often this meant a back and forth with the edit suite to achieve a strong sense of rhythm in the cut, sometimes adjusting the pictures, sometimes the music. Paul’s experience and vision was crucial in helping us pace the music against the shapes and dynamics of the Blue Angels in-flight.
Can you share a memorable moment or breakthrough you experienced while working on The Blue Angels?
While we were still working on the score, we were invited to attend crew screenings at IMAX headquarters. Being able to watch the film from start to finish in that environment, in the presence of the rest of the creative team, was an enlightening and revealing experience. It gave us the aural feedback we needed to go back to our studios and finesse the score, so that it would be just as impactful for both IMAX and VOD viewers. As part of these screenings, we were able to spend time with 3x boss of the Blue Angels and producer of the show, Greg Wooldridge. Speaking with him and getting to hear his stories first-hand was inspiring, and his dedication and credibility set a high standard for us to deliver to.
If you could fly with the Blue Angels for a day, which piece of your music would you want playing in the cockpit and why?
In the show, Blue Angels pilot Cary ‘Chewy’ Rickoff says something to the effect of “every once in a while, the jets just freeze, and the world around you seems to spin”. We wanted to encapsulate that feeling in our music, and there’s a specific montage sequence in the middle of the show that captures these feelings of gratefulness and elegance. Listening to this music in the cockpit would remind us to savor the moment and take in all the sensations of such a unique experience.
Looking forward, how do you see your work evolving, and are there any dream projects or genres you hope to explore?
For The Blue Angels, we worked closely with drummer Charlie Paxson at The Village in Los Angeles. Charlie brought an incredible physical energy to the music, and it would be cool to work on a score in the future that has a similar sense of rhythm and drive – but perhaps expands upon what we learnt working together, and explores different genres and ways of using guitars, drums and percussion. Both of us are excited to continue our work in the documentary space, but we’re also both working on a variety of scripted projects across multiple genres, and so those are unique challenges that we’re excited to share more about soon!
For more behind-the-scenes glimpses and updates on current and upcoming projects, you can follow along with James and Stewart through their Instagrams; @jameseveringham and @stewartmitchellmusic.
