The legendary graphic novel Watchmen has seen many adaptations, but few stay as close to the source material as the animated series. Coupled with great visuals is a memorable score. It takes you into the world of the comic and adds an ethereal tone to balance the tone. The composer on the project is Tim Kelly, who is known for his work across various genres. I was excited to sit down with Tim to talk about his work on the series and his career. Let's dive in. NO FILM SCHOOL: Tim, you’ve described your work on Watchmen as an opportunity to create something that honors the legacy of the comic while introducing fresh elements. How did you balance respecting the original material with your desire to innovate musically?Tim Kelly: When director/producer Brandon Vietti and I began discussions about the music concept for this reimagining of Watchmen, I immediately realized this would be a unique opportunity to try something musically original. We agreed I would create a score featuring primarily analog synthesizers, a sound we both loved, to capture the feeling of the 1980s, when the Watchmen story takes place. I remember scores from the 80s by Vangelis and Jan Hammer fondly. Since we looked at this project as a period piece, the sound of these and other electronic-oriented composers seemed like a good fit for honoring the moody and obscure alternative world created by Alan Moore, Dave Gibbons, and colorist John Higgins. To give that musical approach a new and...
Published By: NoFilmSchool - Yesterday