Mark Mothersbaugh on shaping Wes Anderson’s sound | Little White Lies

Film Music

Mark Moth­ers­baugh on shap­ing Wes Anderson’s sound

10 Dec 2016

Words by Paul Weedon

Illustration of a man with a red fez hat, yellow glasses, and a blue shirt against a pink background.
Illustration of a man with a red fez hat, yellow glasses, and a blue shirt against a pink background.
The Devo front­man dis­cuss­es the pair’s col­lab­o­ra­tions and plans for a Wes Ander­son theme park.

As the co-founder, lead singer and key­board play­er of pio­neer­ing new wave band Devo, Mark Moth­ers­baugh carved a rep­u­ta­tion as one of the most dis­tinc­tive front­men in rock music, with the band’s strik­ing dome hats, unique sound and satir­i­cal, often sur­re­al, live shows gar­ner­ing a cult fol­low­ing. As a com­pos­er, he has scored a num­ber of TV series, notably includ­ing all nine sea­sons of Rugrats, while his film work has strad­dled mul­ti­ple gen­res includ­ing reg­u­lar col­lab­o­ra­tions with Phil Lord and Chris Miller on the likes of Cloudy with a Chance of Meat­balls, the Jump Street series and The Lego Movie.

Yet it’s Mothersbaugh’s work with Wes Ander­son that remains among his most mem­o­rably and well known. Hav­ing first met in the mid-’90s, the pair have since gone on to devel­op a fruit­ful part­ner­ship over four films. With the Cri­te­ri­on Col­lec­tion releas­ing The Roy­al Tenen­baums on Blu-ray in the UK for the first time, we sat down with Moth­ers­baugh to reflect on his work with Wes, the duo’s plans for a theme park and every­thing in between.

There was a woman, Pam Lil­lig, who worked at Sony in the music depart­ment and she said, I know you’ve nev­er heard of the guy, but you should come and check this film out. He needs a com­pos­er and any of the sug­ges­tions that his pro­duc­ers or the film com­pa­ny are giv­ing him, he doesn’t want to use any of those peo­ple.’ So I went to a screen­ing out in San­ta Mon­i­ca and it was one of those things where kids got to go for free. They ate their free food and they left right in the mid­dle of the movie. I remem­ber him telling me a cou­ple of days lat­er, You know, Mark, they told me that that was the biggest walk­out that they’ve ever had for any of their films.’ It’s kind of the way they do their focus groups. Peo­ple were writ­ing things like, We didn’t see any tits,’ or what­ev­er. Those were the com­ments that were com­ing back, but I saw this film with the temp music and knew right away that this guy had an orig­i­nal voice and an inter­est­ing take on our times.”

Wes was fresh out of col­lege and had done a small­er ver­sion Bot­tle Rock­et while he was at school, but he was telling me that the pro­duc­ers were kind of pan­icked. They’d go, How come it looks like your stu­dent film?’ and he’d say, Well, what did you think I was mak­ing?’… And we talked about music and he said, They don’t get my music ideas at all.’ But he was very artic­u­late and he was a pas­sion­ate artist. You don’t meet peo­ple like that every day. I’m in a busi­ness where you read a script and you go, How are they gonna mess this up?’ And then you sign on, they give you a copy of the film and you go, Oh, that’s how they’re gonna mess it up.’ There are so many things that can go wrong. At first I thought, How can there be so many bad films?’ After I worked in Hol­ly­wood for a while, I went, How can any­body make a good film?”

In Bot­tle Rock­et, Wes want­ed all these very high-pitched sounds. By the end of the first day, I under­stood that he didn’t like bass sounds. He didn’t like brass. He liked plucky instru­ments and bells and flutes and pic­co­los. He devel­oped a palette over the course of those first four films to the point where he became com­fort­able enough to use an orches­tra and to even record out­side of my stu­dio. For a while he would just want to sit in here with me. We couldn’t go to a sound­stage. And because I didn’t have a big enough room to bring in a 40-piece orches­tra, we’d bring in six to eight peo­ple at a time and they’d leave and some­thing that would have tak­en one after­noon on a sound­stage would take us a week.”

Wes had some­thing that he played me, some Ital­ian opera. It sounds hard to believe when you lis­ten to that score for Rush­more, but he was play­ing opera and when we would lis­ten to Vince Guaral­di in the first film, by the sec­ond film we were lis­ten­ing to oth­er things, includ­ing going a lit­tle more jazzy, like at the begin­ning with [the musi­cal cue] Hard­est Geom­e­try Prob­lem in the World’. That one we still record­ed it in an emp­ty bed­room at my house, so we were still record­ing up in the hills in Hol­ly­wood at that point.”

Wes loves harp­si­chords. There was this grumpy old lady on Larch­mont Boule­vard, who does harp­si­chord rentals for the orches­tras in town, and he enjoyed going with me there and play­ing all the clavi­chords and harp­si­chords and try­ing them all out to find which one of them was going to be used in the film. By the time we got to that film we had worked togeth­er long enough that I was already send­ing him music while he was still shoot­ing. So he would have music to play through head­phones while he was direct­ing; a num­ber of the themes for that film were writ­ten already by the time he was shooting.”

I remem­ber record­ing Hey Jude’ at my stu­dio and him com­ing out and singing and I put togeth­er singers for it. Wes even does some Michael Jack­son yells in it. He was get­ting so excit­ed that he went and grabbed the mic and start­ed doing some lit­tle yells while we record­ed it. It was right after George Har­ri­son passed away. We knew he was ill and we heard about it and, just, it was kind of a real­ly sad coincidence.”

Wes was liv­ing at, I think, the Château Mar­mont; my stu­dio is on Sun­set Boule­vard, just a quar­ter mile walk away, so he would come over and sit on the couch and work on his script. One day he came over and I was writ­ing some music for him. He said to me, You know, Mark, this boat, these guys – they’re kind of like los­er Jacques Cousteaus. They haven’t had the same finan­cial suc­cess that Jacques Cousteau had but they’ve been doing this since the 70s, so while oth­er peo­ple would have got­ten new equip­ment by the 80s, they’re still using the same old stuff that they bought when they first bought the boat. I was just won­der­ing, what kind of syn­the­sis­er would they be using if they start­ed out some­where in the ear­ly 70s?’ I said, Well, let’s go down­stairs and look in stor­age, because it would be all the ear­ly Devo stuff that I used to use. It would be the same synths.’ So we went down­stairs and pulled some things out and pulled out an old Ober­heim called a TVS1 and it had just a lit­tle eight-step sequencer in it, and that became an inte­gral instru­ment. Think­ing about what kind of instru­ments he would have on the boat was real­ly fun.”

Wes scared me for a minute on The Life Aquat­ic. He said, Would you want to be in the film?” And I said, No way.’ I hate act­ing. I remem­ber, I got offered film parts before. Steven Spiel­berg and Bob Zemeck­is, I thought they want­ed me to score a film and I came in and they said, Well, we have this movie that we’re mak­ing where there’s this mad sci­en­tist and it’s called Back to the Future and we think you’d be per­fect for it. We saw you on stage last week and we thought you’d be great for it.” I just went, Oh, no, no. I don’t know how to act.’ And they go, Come on. We saw your films that you’ve made.’ And I go, Yeah, but I made that stuff up. I can’t do what you want me to do. I have to do what I do.’ I just remem­ber leav­ing think­ing, Man, I thought they were gonna ask me to score it,’ and being kind of bummed out.”

The blue­prints are being put down for it. After my cat­a­logue, Beau­ti­ful Mutants’, came out, I got quite a few resumes from peo­ple who all want­ed to work on it. It was kind of inter­est­ing to get all these things from peo­ple who were like, Yes, I’ve worked on theme parks in Japan and I would love to work on your theme park.’ We talk about it now and then and there are some peo­ple who are very seri­ous about push­ing us along on it. You nev­er know…”

The Roy­al Tenen­baums is now avail­able to buy on Blu-ray cour­tesy of the Cri­te­ri­on Collection.

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