We’ve spent the entire summer listening to the “Succession” theme; the sound of extreme wealth and extravagance courtesy of Emmy-Award winner Nicholas Britell. The score reflects the absurdly manip…
We’ve spent the entire summer listening to the “Succession” theme; the sound of extreme wealth and extravagance courtesy of Emmy-Award winner. The score reflects the absurdly manipulative Roy family. He’s no stranger to composing scores revolving around power and families; “The Big Short” and “Vice” come to mind. His work has garnered him Oscar nominations for “Moonlight” and “If Beale Street Could Talk.
The first thing I said to David was — and I don’t know where these first initial instincts come from, you just have to follow those questions you ask yourself. The first question I asked myself was, “What if this were the 25th century?” I think there was this feeling that the 1400s is so foreign to us. None of us have any idea what the 1400s were and it would feel like a foreign planet to us.
There’s a theme called the “Tetrachord,” it’s this motif that goes from the first descend of the scale to the fifth descend of the scale. It’s this very ancient motif that has been used for a thousand years. I was using it as a melody. There’s something about the downward scale that has this darkness and sadness. It’s a dark and somber story. There are certain emotions in the score that I haven’t explored before.
There’s a theme for Hal in the office of King and maybe he’s not following the right path. When you first hear that, it’s the Ballade piece. You hear it at the Coronation and he’s hurdling forward into the unknown and there’s a fear, a darkness and there’s an intensity for scope. You hear it in the trebuchets, the siege and you think, “Is Hal following the right path?”
That’s also used in the trailer. It’s our entry into the world of the king. There’s this transformation that happens. The music had to represent that transmutation. What happens is you initially start the piece with members of the court going to visit Falstaff who says, “This is now the property of the King.” He’s not aware of what’s happening and replies, “What king of England?” So, it starts with a question. The music you’re hearing is this tense tremolo. There’s a shaking that you hear there.
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