We chat with with composer Jongnic Bontemps (jongnic) about jumping into the Transformers franchise and blending musical influences for TransformersRiseoftheBeasts:
Transformers: Rise of the Beasts is going boldly where no Transformers film has gone before. The follow-up to the hit franchise reboot film Bumblebee, Transformers: Rise of the Beasts brings beloved characters from the mid-90’s animated series Beast Wars into live-action for the first time, adding the Maximals faction into the already volatile mix of humans, Autobots, and Terrorcons. The film stars Anthony Ramos and Dominique Fishback, both fresh faces in the Transformers franchise.
Does that change how you approach the score? Is there more pressure, or do you feel like you need to hit certain beats in a different way? One of the things I would do early on in all of our projects is that I would write music away from picture and send it to him, and he'd be able to give me ideas or thoughts on where he thought that music would work, what did work about it, and what didn't work about it. Really, it's about trying to create a language between the composer and the director, where we can talk about a thing and be able to understand each other.
Transformers has always been a part of my life from a very young age, so when they asked me to come be a part of this legacy, I was already well-versed in the universe. Having Steve's Jablonsky's scores and listening to those gave me a feeling of, "Okay, this is the world that the music needs to fit in.
Then, when we go to Peru, I really wanted to do a deep dive into Peruvian music. I asked a friend of mine, Erick Del Aguila, who's a Peruvian composer, to help me understand the music of Peru and the different regions. He gave me a deep dive in all the different musical traditions from that part of the country--Cusco, the Andes, the jungle area as well. The thing that really spoke to me was the Afro-Peruvian tradition of music, with its syncopated rhythms in a six-eight time signature.
So I would write the music that simulated the orchestra, I would add in the 808, I would add in my synth, and this way we would then have something to talk about. I'd play it for Steven, he would say, "I like this. I don't like that. I need it to change here. When this character comes in, I need it to switch," so we would then mold it. Then, of course, we would have to play it for the producers and the studio music department and they would give us their ideas as well.
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