Composed by David Arnold (Casino Royale) and Michael Price (The Inbetweeners Movie), the soundtrack to the first series of BBC One’s Sherlock is available to buy later this month.
The highly acclaimed score has received BAFTA and Emmy nominations and won an RTS Television Award. The music from Series 2 will be released at end of February.
CultBox caught up with David and Michael to find out more…
How early on with your work on Sherlock did you realise that the show was going to be something special?
MP: “For me, from the first time we saw the pilot, there was a sense of something extraordinary, if it could be developed in the right way. Although this season’s shows are so much better than I could have ever imagined!”
DA: “I watched the pilot with Mark Gatiss and simply said to him that I thought it was the best bit of British TV I’d seen in around five years.
“I’ve been friends with Benedict for a few years since we did the film Amazing Grace together and he is one of my favourite British actors so was thrilled to be around another project with him.”
Do you both hope to return to Sherlock for Series 3 when that’s eventually made?
MP: “I would donate at least one major organ, and possibly a minor limb, for there to be a Series 3! But there are lots of ducks to get in a row for that to happen.”
DA: “Everyone is very proud of the show and I’m sure the entire crew would do whatever they could to make Series 3 happen, not just us.”
What have been your favourite film/TV scores that you’ve heard over the past year?
MP: “I love Alberto Iglesias’ score for Tinker Tailor Soldier Spy and am always very interested in what Jonny Greenwood is doing.
“There are some great scores being written right now. Although I’m surprised that my attempt to revive the kazoo as a major force in scoring didn’t receive much attention last year… “
DA: “I’m a big fan of Alberto also. His Tinker Tailor score gets a big thumbs up. Weirdly Jonny Greenwood’s score for We Need to Talk About Kevin was perfect and non-traditional, which I liked. (I’m seriously not copying Michael…)”
What advice would you give to anyone wanting to get into your line of work?
MP: “Do as much composing as you can, find someone good to assist, and find a way to support yourself for 10 years before you get your first paying gig.”
DA: “If you want to write film music, write film music and try not to do much else if you can help it.”
David, were you disappointed not to be able to do the score for the next James Bond film, Skyfall, due to your Olympic and Paralympic closing ceremonies commitments?
DA: “My availability wasn’t an issue. [The film’s director] Sam Mendes wanted to continue his working relationship with Thomas Newman.
“I would hate to be a composer foisted upon a director if the director would rather have someone else and I have been lucky that the five directors who I’ve worked with on the Bond movies chose to work with me.
“You have to afford each director the same right and I’ve never expected to be asked back just because I’d done the films previously.”
Are you pleased with their choice of Thomas Newman?
DA: “Yes, he’s a terrific composer.”
Can you tell us anything about what your involvement with the James Bond 50th anniversary will entail?
DA: “There are several things in development, but I don’t want to jinx anything by talking about any one thing specifically.”
Would you potentially like to return to the franchise for Bond 24 if your schedule allows?
DA: “I’ve always said that I would score them whenever they asked me to score them. That hasn’t changed. I’m never not available to Bond.”
What else have you both got coming up?
MP: “I recently completed the scores for two new movies – Cheerful Weather for the Wedding and a Fantastic Fear of Everything.”
DA: “The Olympics!!!”
What’s your favourite piece of music from Sherlock? Let us know below…
Watch the Series 2 trailer…