There’s a scene in “Megalopolis” the place the visionary architect Cesar (Adam Driver) shares a kiss with Julia (Nathalie Emmanuel) atop building rafters hanging excessive above town of New Rome — and time stops.
When he first noticed it, composer Osvaldo Golijov assumed writer-director Francis Ford Coppola staged it like that simply to be unique. He inquired why the kiss was set a thousand ft above the bottom, and Coppola defined: “Because a kiss is a very dangerous thing. You may think you have all your life figured out, but a kiss can make everything crumble.”
“So he has a reason for everything,” says a visibly delighted Golijov, who answered Coppola’s name for that scene by writing a shimmering, surging love theme. “That’s why I chose that orchestration that is very what I call ‘aerial,’ and Wagnerian, and kind of also Hollywood — which I never knew that I could do.”
“He has a reason for everything,” composer Osvaldo Golijov says of “Megalopolis” director Francis Ford Coppola, together with this scene between Nathalie Emmanuel and Adam Driver.
(Lionsgate)
Music has at all times been a ardour for Coppola, whose childhood was marinated in opera and whose composer father usually contributed to his movies. From the melodic Sicilian ghosts of “The Godfather” by composer Nino Rota to the aching Japanese European love theme in “Bram Stoker’s Dracula” by Wojciech Kilar, his tales ooze with musical expression.
“Still in need of a ‘classical’-type composer,” Coppola approached the American maestro John Adams, “who was kind and receptive but not really interested in composing new music for me.” An acquaintance gave Coppola a listing of 5 newish live performance composers to take a look at, together with Thomas Adès and the Argentina-born Golijov. Coppola was very interested in the latter’s work, notably his monumental piece, “La Pasión Según San Marcos.”
“I felt his music was complex, beautiful, harmonically and textually varied,” says Coppola, “and interesting.”
Coppola first reached out to Golijov 20 years in the past and invited the composer to his house in Napa to debate “Megalopolis.” The filmmaker had been dreaming of this “New Roman” epic because the Nineteen Eighties, and he requested Golijov to jot down a tone poem based mostly on the script, one thing in a “muscular, American, midcentury idiom,” says Olijov, “a kind of industrial, mechanical thing.”
That iteration of the movie stalled, and within the meantime Golijov scored Coppola’s “Youth Without Youth,” “Tetro” and “Twixt.” Lastly, after Coppola offered a part of his wine enterprise to finance his ardour undertaking, “Megalopolis” was reborn.
“I felt his music was complex, beautiful, harmonically and textually varied,” Francis Ford Coppola says of Osvaldo Golijov. The 2 started discussing “Megalopolis” 20 years in the past.
(Glen Scantlebury)
Gone was any discuss of business midcentury music. When Golijov visited the set in Atlanta final yr, Coppola — who hadn’t seen the composer in 12 years — stopped what he was taking pictures and blurted out: “Osvaldo, we need a big love theme!”
Golijov laughs on the reminiscence: “He didn’t even say, ‘Hi.’ He said, ‘This is the theme that will hook people in, and then they will come again to the movie for the other layers.’”
Coppola particularly requested a classical love theme, “but geometric,” which Golijov interpreted as “an architectural theme that is just four notes, and then you can do whatever you want.”
So Golijov got here up with a easy, pining leitmotif that he then reconstituted into many various guises all through the rating: It’s blue and jazzy on saxophone as Cesar roams town streets at night time, gradual and drugged when he’s in an identical state.
Just like the movie itself, Golijov’s rating is wildly eclectic and continuously referencing outdated cinema. It pays homage to basic Hollywood scores about historic Rome, specifically Miklós Rózsa’s “Ben-Hur,” with brass fanfares and stately processionals. There are homages to the work of Bernard Herrmann, with music for eely low winds (Coppola instructed Golijov, “When in doubt, go to Hitchcock”).
The rating additionally performs on the idea of time and makes use of digital manipulation for ticking, grooving rhythmic passages. It swings from one excessive to a different, matching Coppola’s grandiose gestures towards futurism, historic historical past, symbolism, theatrical efficiency — and, on the coronary heart of all of it, love.
“I told him I wanted the music to be something audiences could dance to,” Coppola says.
The director’s love of opera is what is smart of this large, heaving epic. Giancarlo Esposito, who performs Mayor Cicero within the movie, additionally grew up in a home of opera: His mom was a Black opera singer from Alabama who met his Italian father whereas performing in Naples.
The actor, who first labored with Coppola on “The Cotton Club” 40 years in the past, says he sees Coppola as “this deeply Italian man who, in some ways, resembled my father. I don’t think I’ve ever told him that.”
Esposito considers “Megalopolis” to be about “art imitating life and history repeating itself.” He provides of Coppola: “Of course he would put a very operatic soundtrack on this film, because it’s what it deserves. In fact, it’s what it’s calling for. It’s what it demands.”
