Bloodlines is thrilled to present our first crew interview. JJ went above and beyond to answer our burning questions. First, he answered questions posed to him on our message board and then he answer 10 more questions generated by Bloodlines. Thank you JJ for your time and for sharing your stories with us.

From for_no_one1014: Cool. Can't wait for the interview! I guess my question would be if he could use any song that he didn't compose for the show what would that song be and why?

Oh this one is too hard to answer. My new musical favorites change hourly.

Often with Television we simply don’t have the luxury of choosing whatever we’d like to. Limits of turn around time for TV and a production budget often find us searching unsigned independent artists to license. And I LOVE the Indies! In my experience the best music lies with those that the corporate music machine hasn’t or can’t touch yet. And believe me, there are absolute gems out there waiting to be heard. Often you’ll be able to get a sneak peek at a future star and then this will be my new musical favorite. If I can single out anyone, what seems like an old favorite of mine is Feist. I first learned of her incredible voice on the Indie side. I will always have a soft spot for her.

On BT, the music supervisor is Natasha Duprey. She has the cool job of finding these tracks and bats her choices over to Peter Mohan and I. She so rocks. She has finding the sweetness in Indie down.

 

From Barzane: I would like to know where his inspiration comes from, and if any of the characters are also an inspiration for his music.
I’d like to say coffee. But I quit coffee a couple years ago. So I can’t be that….
My job is really about reading emotion, amping it, being the glue that holds it together and moves it forward. Basically I am the story’s bitch. So I kind of throw inspiration aside and focus on the cinematic intent of the scene in question. On BT, there is a lot to get inspired about though….
In life my inspiration is family. My talent is from my dad.

 

From Treisme: another question is what process does he go through in order to bring the music to life.. (( does he write the music before the episode is aired.. or does he watch scenes to get the mood for the music?))

We have what called a sound spot for each episode. This is where we go through a time coded version of a freshly finished or « locked » episode and determine what’s going to happen with the audio in the show. This usually includes, Peter Mohan our God, our film editors Richard Schwadel and Daria Ellerman, Natasha Duprey our music super, and super cool music editor Rich Walters (who has also been a stellar unsung hero helping me compose when time is tight!) and other important sound related people. In the meeting, we discuss all aspects of the sound of the show including score, licensed music or « source » sound effect, visual FX (which we usually have to imagine at this point as they are just starting to work on these) and dialogue. Most importantly in this meeting, there are usually very fine bake goods and exceptional donuts too.

We determine which scenes will have composed score and which scenes will have source music to be starting at such and such a point and be out likewise. BT is mostly score. We also discuss what tone this music should be. Our film editors are wicked and incredibly musical. Except for Richard. He has no rhythm whatsoever.  As a matter of fact we just let him in because we feel sorry for him ….. I can’t wait for the editor interview now…hehe

The film editors have also put what’s called a « temp » score on the cut we see to help us along. This is pulled from a select library. Some of which can be music that I have previously done.

I'll then take my notes and return to my personal studio. I'll then map out the cues and usually pick the harder ones first. I’ll then watch and analyze the crap out of each scene.

Next I’ll feel the pace of a scene and translate that into a tempo that seems to work. Then I’ll start to brainstorm ideas - recording as I go- when I hit on something that’s cool- and my cortex begins to tickle- I’ll build on that idea. This can come from a particular instrument, my voice, a rhythm, a melodic line or a chord structure. I still don’t know where the ability comes from, but I tend to know straight away if the idea will produce a cue or quite frankly I suck ass. I have found though it’s like exercising a muscle: the more you do it the better you get. Keep in mind on BT that an average episode has about 25 to 35 minutes of score to be written, produced and delivered in average of 6 days. So you have to nail it the first time or you’re going to die.

 

From kimmyluvzu2: My question would be: Since this is a television show that takes place mostly in the dark, does you have a certain group of music that you pull from? Or if you were to use an orchestra, which section of instruments would u use the most?

Aside from the harder synth, guitar and percussion grooved based stuff I general tend to use a lot of unconventional instruments on this show. Currently I’m into the Thai dulcimer, the Irish Dulcimer, some Indonesian gamelans, autoharps, vibes and tablas. I use my voice a lot too. I play a lot of wacky stuff and it’s always a hoot to try something new-which I think adds to the film noir. Technology is super cool and it allows me to be a one man band, but my motto is to keep it real at all times. Live recorded instruments are always the way to go. Peter has laid incredible trust in me to be able to experiment.

As far as the orchestra goes, like most I rely heavily on strings and brass for this show. I  do insist on having an infectious groove underneath at all times though. I think one of my favorite cues so far is when Henry bites Vicki in the pilot because it’s big strings, nasty groove and a moaning vocal over top. If I was a vamp this is what I think I’d hear anyway. For some reason Pete wouldn't let me stand in for Kyle when he bit Christina to get, you know inspired..

I would like to use more woodwinds though. Mostly I don't because I have way too much salvia for my own good and I can’t play them well.….

 

From fromyesterday: Do you think that eventually you'll have music themed specifically for different characters? I don't know how to word that properly so feel free to not use it or change it. I mean, like on a lot of shows you find that some characters have their own theme songs or, the music that plays when they're around definitely has its own theme to it. I haven't heard that on Blood Ties yet, so I'm wondering if he ever wants to go that route, or if he'll just stick to doing overall music for the overall mood of the particular scene. Does that make sense?

Sure, the question makes terrific sense. We wanted BT to be bold and fresh. A younger groove based sound for show accomplished this best and as such I approach my cues like they are little mini songs. But that being said you have to hit the standard classical film score now and then and film music is all about the themes and motifs. So I do have a couple of themes that I do draw upon BT pretty inconspicuously. In particular is the Henry/Vicki playful theme comes up often. You’ll hear this on the Open Main title card in the US. Also under V&H, when he talks about his past and the very end of the pilot.

 

From InRibbons: I wonder if you think you'll put together a cd of the music of bloodties? How about some string instruments I really love the way they sound and great job overall. Thanks for what you do !!

You are very welcome. Still have to slap myself sometimes because I have the coolest job. I sit in a room making music and watching cinema. I am very thankful and pleasantly surprised that others seem to dig what I make.

Sure strings rock and yes the plan will be to release a soundtrack CD. Things right now are moving stupid fast. Once we settle down and I have many hours of music to choose from we’ll get it out there ASAP.

 

From backbeat.rhythm: What made you want to do the composing for Blood Ties when it was offered to you? What drew you in?

Secretly I am a vampire and it’s time our story is told……

But really. A good friend, Shelly Eriksen and a fantastic writer. Who amongst others was the show runner/creator on a previous show we did together called “Show Me Yours”. She hooked up with Peter Mohan and I hooked up with them.  I bugged Peter relentlessly to get on board. They soon realized the only way to get rid of me was to hire me.

 

From Freg: Hi James. Thanks so much for playing with us and the great music. My question is if you could have a jam session with any musician dead or alive who would it be and why?

Ooo good question. tough one. I can’t say just one so here’s a few:

Miles Davis. – nuff said but above all he is the man of listening and patience- as he said “It’s what he don’t play” that makes him great.

Pat Methany- dude said once he just plays what he would like to hear next. Improvisation is composition on the fly.

Prince- he’s purple and wicked.

Mozart- Other than being a genius, people say he was purple and wicked. I just would want to have a beer with the man.

Ravel- we probably talk about Mozart.

Trent Reznor- distortion is a good thing

Thomas Dolby- aliens ate my Buick too.

Quincy Jones- what can I say that hasn’t been already?

Macy Gray and Norah Jones. – oohh the sweet sexy and the cool of it all

Escovel- simply wack like me.

 

From Jules: What composer has influenced you the most? How would you describe your style? Do you ever steal from yourself to give yourself a unique style?? (Kind of like - you can spot a James Horner a mile away because he has a distinct sound.)

Once again a tough one so here’s some film composer’s I love: David Holmes, Gabriel Yared, Mycheal Danna, Jeff Beal, John Powell, Nathan Larson, Thomas Newman, Angelo Badalemanti. the list could go on forever……

Yeah I’m kind of billed as the eclectic and often harder edged younger (sounding) guy. I rely heavily on stuff folks don’t normally use in film score.  I'm also a tech freak so I’m always up for using this to experiment with my music. With my band background I tend to use this experience a lot too. Although you gotta adhere the the laws of film score to be truthful to cinema, I tend to write from a song point of view with production in mind.

 

From Jules: And also - - how much background research do you do before composing for a project? How much does that influence how you come up with your score?

Sometimes a bit. I’m a world music buff and I go to the well a lot with that. For example there is an Egyptian themed episode for BT ep110 . Although not much was truly known historically about these guys it is believed elements of stringed oud like Grecian/Turkish music, Winds from Aarbia like what is now the deduk and even African based chanting and large percussion were involved. So I tried to go there. I hope you’ll enjoy.

 

From JocelynDawn: What influenced you to choose a career composing for TV/film? Did you have a teacher or childhood idol that you feel was instrumental in the path your career has taken?

 My dad is a monster jazz pianist and also a fantastic composer.  He started writing for Sesame Street. As a kid, I thought Man, like how cool is that! Naturally I wanted to be like him and I also realized I could hang out in bars and meet women if I was a musician. So, in 5th grade, I threw aside my Viola and stole my brothers guitar and made a band with my schoolmates. This led to lessons, more bands, more instruments and studying at university and college. Then I moved to Vancouver and acquired as much studio gear as I could. I read a lot of technical manuals and ended up writing for commercials. At this point, through luck and word of mouth, the film gigs slowly started to develop for me. However I’m still waiting for the bars and women.

 

And from Bloodlines:

1) What was the first piece you composed for BT?

It was ep6. The cue number was 1m4- (4th cue into the 1st act). It's called "She's dead". Conveniently I name my cues after a line of dialogue from the scene because it hurts my brain less this way. I remember spending the whole day on the one cue. I wanted to get it just right before showing Peter and the gang. It was challenging because we had to move from crime scene to a little fun banter to a transition, all while keeping the energy going. I went with 6/8 time and lots of tabla and guitar and dulcimer. good fun.

 

2) What's the piece that you are most proud of on BT?

This does change often. Henry bites Vicki in the pilot is up there. And most of ep108  is pretty fun too I guess. I am a sucker for the emotional cues though. We have some pretty fantastic performances from our cast- it makes my job easy. I love showing cues to Peter Mohan on the stage. He puts the headphones on and starts grooving. He says "that **** blows my mind man " Dude is so positive. I want to try something new to make him say it again. He's a blast.

 

3) Are there additional challenges to composing for a supernatural genre show?

One should never be awake during the daylight....

The sheer amount of intense music per episode is always a bitch, especially on the tight TV schedule. But the payoff is when it all comes together. Normally I'll pull an all-nighter before I deliver a show. Once I fell asleep on the couch in a sound studio at the final audio mix theatre after delivering my music. I had a pretty nasty cold at the time so there was some serious snoring was going on. Well, we were in a RECORDING studio so naturally the mixers recorded me, which blasted the snoring through the BIG speakers. I sprang up from the couch pretty quick. It was hilarious. They later emailed it to me so I have it as a start up sound for one of my computers.

 

4) What's the process like for composing a piece for Henry versus Mike? (not that you wear fangs to inspire Henry tunes or a badge for Mike but is there a different process for creating the heroic cop music versus the anti-hero vampire?)

Actually fangs and badges get you by most clubs line-ups these days. It really depends. The emotional intent of the scene is what I'm really after. These are both great deep characters and fine actors. I approach their sound like their characters. I guess you can say Mike is more of an urban sound with a sensitive center. Whereas Henry, well he's a pretty dark guy musically with always a nod to the passionate side. I try to mix it up and have fun with both musical ideas but it's got to be as good as they are.

 

5) Why is the ending credit song different for the US and Canada?

I was asked pretty late in the process to write a feature theme song for the series. I had wrote the "song" after we had delivered the US version end credits. Plus the US version is also much shorter to allow for greater advertising time. And hey the commercials pay for our show!

 

6) Since BT is almost done filming Season 1, how has your style changed over the season?

Actually I'm still in the middle of the season working on ep113 at the moment. The scoring process usually starts a couple months after principal photography. I think I'm more relaxed and take some bigger risks now. I'm still pretty faithful to our original concept though.

 

7) In reflection, is there something you would have done differently during Season 1?

I'd wish they given me more sex scenes to write for.

 

8) What has been your favorite experience working on this set?

Drag is that the film set is on the other side of town. The post production lot is downtown and we kinda miss each other. But  everyone I've met on the show are hard working and super cool.  I think being a nice compatible  person is mandatory for a successful  series. I have had fab time getting to know Peter and the writers while they were creating the shows first scripts last summer. I was also able to finally meet Tanya Huff at the wrap party. She's a treat. I 'd like to personally thank her most excellent creative brain.

 

9) What was the last piece you completed for BT Season 1?

I’m writing the finishing touches on a very evil Norman cue on ep112.  Man I love that dude. He totally rocks.

 

10) What are your plans over the Season Hiatus?

I'm pretty lucky. Either that or stupid. Time off is gold but rare. I kind of go from project to project pretty quick. In fact I often have a couple of projects going at the same time. My two boys are everything to me. When I do get some spare time, we love to snowboard, golf and bike together. I need to go pretty far away from my music when I can.  I am also huge Canucks Hockey freak. I’m looking for my next over priced scalped ticket. Every moment I can spend with my family is huge.