Know The Score: Nicholas Britell on Chariots of… | Little White Lies

Film Music

Know The Score: Nicholas Britell on Char­i­ots of Fire

04 Mar 2020

Words by Thomas Hobbs

Musical notes and athletic figures racing on a red track, surrounded by silhouetted spectators on a golden stadium.
Musical notes and athletic figures racing on a red track, surrounded by silhouetted spectators on a golden stadium.
The Moon­light and Suc­ces­sion com­pos­er reveals how Van­ge­lis’ score made him want to become a musician.

Char­i­ots of Fire is about what must be sac­ri­ficed in order to achieve immor­tal­i­ty. But the 1981 film – based on the true sto­ry of British run­ners Eric Lid­dle and Harold Abra­hams, who over­came obsta­cles and each anoth­er en route to com­pet­ing at the 1924 Olympics – achieved immor­tal­i­ty pri­mar­i­ly because of its icon­ic score.

A rous­ing com­bi­na­tion of acoustic and elec­tron­ic instru­men­ta­tion, the score’s cen­tral motif com­pris­es synths which bloom in and out of life, while swirling arpeg­gios from a piano con­vey a sense of eupho­ria. The main theme has become a sta­ple of British pop­u­lar cul­ture, appear­ing on so many sport­ing high­light reels that most peo­ple can prob­a­bly hum it with­out know­ing what it orig­i­nal­ly came from.

Yet the theme’s tran­scen­dent pow­er doesn’t arise sim­ply from tap­ping into a uni­ver­sal feel­ing of tri­umph, but from some­where much more per­son­al and intro­spec­tive. Com­pos­er Van­ge­lis’ father was a run­ner, and the famed elec­tron­ic musi­cian want­ed to cre­ate an anthem that tapped into the emo­tions his dad would like­ly have felt when com­pet­ing. This, you sense, is the rea­son the theme has so much heart. There’s that per­son­al rever­ber­a­tion run­ning through it,” Van­ge­lis once said. It’s an anthem for my father.”

For Nicholas Britell, who in recent years has estab­lished him­self as one of Hollywood’s most dynam­ic and sought after com­posers, the Char­i­ots of Fire theme is the rea­son he want­ed to become a musi­cian. It was very spe­cial and for­ma­tive for me,” he tells LWLies. I saw the film when I was five and just became obsessed with the theme.

We had this old upright piano in our apart­ment in New York and I sat there for weeks work­ing out how to play Char­i­ots of Fire on it. It’s because of the film that I asked my mum for piano lessons. There was just such a mys­ti­cism to the music, the synths on all the songs some­how man­age to be so human and you can real­ly feel the move­ment of the run­ners. It real­ly took me inside the char­ac­ters’ heads in a way oth­er scores didn’t.”

Although his work doesn’t have much in com­mon with Van­ge­lis’ score son­i­cal­ly, Britell says it’s some­thing he often tries to mir­ror the­mat­i­cal­ly. Great film music should have poignan­cy and a feel­ing of con­tem­pla­tion. Even though Van­ge­lis is using elec­tron­ic tech­niques, there’s some­thing dis­tinct­ly human about his melodies.”

Whether it’s the Shake­speare­an spark of his Suc­ces­sion score, or the way the strings in Bar­ry Jenk­ins’ If Beale Street Could Talk tran­si­tion from a place of del­i­cate infat­u­a­tion to bru­tal para­noia and fear, Britell under­stands how to tap into a character’s inner psyche.

He pri­mar­i­ly focus­es on non-diegetic sounds and music that sym­bol­is­es what’s going on inside a character’s head as opposed to what’s hap­pen­ing in the world they inhab­it. Britell’s music pro­vides a win­dow to the soul, and he insists this men­tal­i­ty is just an exten­sion of what he learned as a tod­dler watch­ing and intent­ly lis­ten­ing to Char­i­ots of Fire.

On paper we are talk­ing about a sto­ry of some British run­ners in the 1920s, so it was a real­ly risky deci­sion to get this elec­tron­ic pro­duc­er in,” he explains. I imag­ine the pro­duc­ers would have ini­tial­ly con­sid­ered imple­ment­ing late 19th cen­tu­ry music or that ear­ly jazz sound so it was more of an accu­rate por­tray­al of that era, but it was ball­sy using music that wasn’t from that era. Instead, the sound­track cre­ates its own world, and that’s what all great scores do.”

Pro­duc­ing a time­less com­po­si­tion was some­thing Britell set out to achieve with his score for Jenk­ins’ Moon­light. Peo­ple tell me the music dur­ing the swim­ming sequence changed their lives and allowed them to heal, and it real­ly moves me to think it could do that. I guess you could trace that back to the impact Char­i­ots of Fire had on me. It’s a score that tran­scends the film itself and taps into this idea that music can be ther­a­peu­tic and oth­er­world­ly. On some lev­el, that’s what I’m always try­ing to achieve with my own work.”

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