Exclusive Interview – Composer James Newberry discusses Is This Thing On?

      Chris Connor speaks with James Newberry, the composer for Is This Thing On?...

      Bradley Cooper's third directorial feature, Is This Thing On?, has received outstanding reviews. Centered on Will Arnett's character Alex Novak as he unexpectedly starts a stand-up comedy career, the film emphasizes the relationship between Alex and his wife Tess (Laura Dern), delivering a character-driven narrative. We caught up with composer James Newberry to discuss the scoring of the stand-up scenes, his collaboration with Bradley Cooper, and the incorporation of drums in the soundtrack...

      When did you first become involved with Is This Thing On?

      I got involved long before filming began. There were certain scenes requiring on-camera music for which I arranged or performed a song, aiding in the filming of that scene. It was really exciting to arrange something for a group of kids to perform live in the movie. Subsequently, I started writing the score before production even began, to spark ideas between Bradley and me. I enjoy beginning a score based on the script and before seeing the edit.

      What were your initial steps in composing the score?

      The primary steps were to establish the tone and sound palette with Bradley. Initially, he wanted to use only drums or percussion for the score, but we discovered that the emotional core of the score emerged from a combination of choir and percussion, along with some prepared piano and electronics. A key point we frequently discussed was maintaining a sense of propulsion, which definitely intensifies in the film's middle section.

      How engaged was Bradley Cooper in shaping the score? (his previous movies have had a strong musical focus)

      Bradley was as involved as any director could be. We communicated daily for nearly an entire year, exchanging ideas and experimenting with scenes, sounds, and themes. I would send him music almost every day, and he provided immediate feedback, which was fantastic. His past experience with music-centric films undeniably influenced his understanding of music in film, but he never restricted my creativity. He consistently encouraged new ideas and experimentation. Working with him was truly enjoyable.

      What was your experience scoring the stand-up sequences?

      We attempted to score all the stand-up scenes at various stages of the process. Ultimately, we realized that a minimal approach worked better for the score as the film is very dialogue-driven. The only stand-up sequence we scored early and continued with was Alex’s final stand-up performance, titled “Vampires” on the soundtrack. That cue distills the established soundscape into textures and fragments, which aligns well with how that scene progresses.

      Could you explain the differences in composing music for Alex and Tess?

      We didn’t really differentiate between the two. Initially, I created sketches that featured a theme for Tess and a sound world for Alex before seeing the edit. However, once we viewed the footage, it became clear that the story revolves around them as a couple rather than individually. Their performances were also so captivating that it was crucial not to overtly state what we were already witnessing between them.

      Was it always intended for the film to have a jazz-influenced score?

      I wouldn't categorize it as jazz-influenced, aside from the consistent use of a drum set. Initially, the plan was to rely solely on percussion, but as we evolved our ideas, we realized that wouldn't fully serve the film. The drum set remained to support songs and moments throughout, contributing to the sense of propulsion that Bradley envisioned. Harmonically, the chord progressions are quite simple. One concept I had early on, which materialized after a period of forgetting it, was having the drum set and choir first emerge in the film when Alex decides to truly pursue stand-up. It's like he experiences a revelation, and the film shifts direction alongside him.

      Were there any specific challenges you faced while working on this film?

      The primary challenge was achieving the right tone and sound palette. We opted not to use any temp music, which is uncommon these days. Early in the process, there were also no songs in the edit apart from the ending, which I helped assemble. The first time I scored to picture, it was without any prior music. That certainly posed a challenge, but it was gratifying once we discovered what we were aiming for. Now, I prefer working without temp tracks, as it requires digging deep to create something from scratch, which demands a lot of trust from the filmmakers, but ultimately leads to the most original work.

      Is there anything else you would like to mention about Is This Thing On?

      Just a shout-out to Jason Ruder, who served as the Music Supervisor for the film. He’s fantastic! Also, thanks to the music team at Searchlight, who were incredibly helpful and great to collaborate with.

      SEE ALSO: Check out our review of Is This Thing On? here.

      Many thanks to James Newberry for taking the time for this interview.

      Chris Connor