Magic Year for Lyle Workman

Though it’s just spring, Kremona artist Lyle Workman is already enjoying a fabulous year.  ‘To Be Loved’--The album he made with Michael Bublé-- has now reached number one in several countries.  Two of his feature film scores--  ‘The Incredible Burt Wonderstone’ starring Steve Carell and Jim Carrey, and ’21 and Over’ from writer/director Jon Lucas (creator of ‘The Hangover’ franchise) -- have successfully launched in theaters. 

Learn more about Lyle through the following interview excerpts, conducted by Danny Gonzales and having originally appeared at examiner.com. The interview focuses primarily on Lyle’s compositions for the film ‘Stand Up Guys’ starring Al Pacino and Christopher Walken, and his collaborations with celebrated director Judd Apatow.

 

Please tell the readers about what made you become interested in music and composing.

LW: At the beginning it was The Beatles, for scoring it was my love of films.

You recently scored Stand Up Guys, starring the great acting legends Al Pacino and Christopher Walken. What attracted you to this film?

LW: The gentlemen you just mentioned. Secondly, the look and feel of the film-- I found it gritty and fun, with fine dramatic elements.

Tell me about the approach you took in writing that score?

LW: Songs with ‘60s, ‘70s Soul, R&B and blues flavors were being set in place, and the director Fisher Stevens wanted the score to borrow from those textures. From there I set out to write stylized authentic to the era by which they were inspired. In a sense I “cast” the band, being very deliberate to select specific musicians for their feel and sonic approach.

Did Fisher have a specific musical plan in mind, considering you had to contend with new songs by Bon Jovi and others?

LW: The only directive was that the score gel with the songs stylistically, although not required with Jon’s because of its special moment and specific function in the last act of the movie.

You’ve been largely involved with comedies; hit films such as Forgetting Sarah Marshall, Superbad, Yes Man, The 40 Year-Old Virgin and Get Him to the Greek. Tell us how you got involved in these projects, and how you feel about them in retrospect.

Through an acquaintance at Universal Pictures, I was asked to submit additional music for a film of which Judd Apatow was producer. When it was time for him to make his first feature as a director, my name was brought up and Judd had me write for a few scenes. He liked what he heard and I was hired for ‘The 40 Year-Old Virgin’. That started my run with his films.

How do I feel about these movies now? I’m very proud and still pinch myself that not only were the films well made, highly original and fun to work on, but they were also very successful and paved the way for a career in film composing. I feel very blessed and fortunate, and I continue to have a very warm feeling about those films. I’m sure I always will.

Was it hard for you to find a musical tone for these films, apart from films you’ve scored in the past?

LW: The hardest part of my job is to unlock the key to the sound and feel of a film. Conceptually I feel like the sound is embedded in the film from the outset. It is there already; the job is to discover the music it is telling me to make. The quest is to find what is natural and organic to the film. Sometimes it is very clear from the outset. Other times it can be a difficult nut to crack.

I loved the “Funk McLovin” track featured on the Superbad soundtrack—a wonderful throwback ‘70s piece that was really a lot of fun. What was the inspiration for it?

LW: Thanks you! That track was written as and end credit roll piece, a fun way to end the film. Having the masters of funk as my band-- with Bootsy Collins playing bass and singing hilarious commentary into the microphone-- made it impossible for it to be anything but fun.

Is it hard for you to do a comedy film as opposed to a more dramatic one?

LW: I do think comedy is harder because the music needs to get out of the way of the jokes, yet provide the right degree of tone, pacing and energy. It can be an art of neutrality. Other times, more pointed humor in the music is called for to strengthen and propel the comedy. Hitting the proper balance can be a tight rope walk.

You made your composing debut for the 2001 comedy, “Made” which was starred in and directed by Vince Vaughn and Jon Favreau. How did you get the project, and did you feel any nervousness considering it was your first?

LW: I had played guitar on a record for a band where one of the members was a good friend with Jon and Vince. They asked their buddy to score it, and that musician asked me to help him.

What was your approach in scoring the film? Did either Vaughn or Favreau have anything specific they wanted for the soundtrack?

LW: They allowed us to explore on our own and find it. They were great fun to work with.

Do you find it difficult for your soundtrack work to compete with pre-recorded songs that might be chosen for a film?

LW: Not at all. Scoring is such a separate entity from the songs. The pre-recorded songs come in sideways so to speak, generally not written for the films they are in, whereas my work is completely married to the film by nature. Also, songs that are popular have a very different function than score because of their familiarity to the public. If a big comedy is designed for and can afford a hugely popular song in a montage, then that’s what it will be, and as such the score isn’t competing. Score and song have their own place and function.

You’ve also worked with director Nicholas Stoller on “Get Him to the Greek” and “Forgetting Sarah Marshall.” Did he have any influence on the way you scored those films?

LW: You bet. All directors have influence, because it’s their vision I’m to fulfill.

Which was the hardest film to score, and why?

LW: ‘Win Win’ may have been the hardest because of the very tight schedule and too many consecutive sixteen-hour and longer workdays to make the deadline. I’ve been on a few films with directors who were unsure of what they liked and wanted until several options were demoed and presented. When that is the method for an entire film, it’s a challenge to keep the work inspired and cohesive.

What do you think about films today in General?

LW: I’m enthusiastic over many outstanding films being made today. I’m eager to see what guys like Alexander Payne, we Anderson, Judd Apatow, Paul Thomas Anderson, David O. Russell, Steven Spielberg and Quentin Tarantino have in store for us.

Do you prefer to work with a big orchestra or a smaller, intimate ensemble of musicians that includes yourself?

LW: I like them both very much, but a big orchestra provides the biggest rush.

What is your favorite film that you’ve scored to date?

LW: That would be ‘Superbad’.

What is your dream project?

LW: Collaborating with Peter Gabriel on a score or a record would be incredible.

Thank you, Lyle, for this interview. I’m looking forward to your future projects.

LW: Thanks to you Danny, and your interested readers!