Today marks the theatrical release of Tempting Fate across Nigeria. It is a day I’ve been anticipating and praying for ever since Pedro González Arbona signed the contract to compose the movie soundtrack while we were together in Madrid two summers ago.
Early last year while Pedro was in the final stages of synchronizing the music with the movie, Kevin Kwankwor, the film’s director, asked Pedro to write about the movie composing process. At that point, it was uncertain where the premiere would be held. There was talk of a Hollywood premiere and Pedro didn’t expect he could make that. The script below was to be recorded for showing at the Hollywood premiere.
Pedro and I did attend the red carpet VIP screening in Houston last year. And last week was the premiere in Lagos, Nigeria with the major U.S. cast and crew and Nollywood star Ramsey Nouah. If Tempting Fate does well in Nigeria and Ghana, there is much hope that the movie will make its way through Europe and back to America for an official nationwide release.
In the meantime, I’m sharing Pedro’s account of his work on Tempting Fate and his creative music process.
THE MAKING OF TEMPTING FATE’s SCORE
by Pedro González Arbona
Introduction
I received the call from Kevin Kwankwor—producer, director, screenwriter, and CEO of KevStel Group LLC.—in the middle of July 2013. I was finishing the score of two short films, so it was the best time to start a new project.
Kevin and I had some conversations about music in general, and the “Tempting Fate” project in particular. We connected very well from the beginning because we had the same approach to this story of a deep relationship between two brothers and how their different paths in life affect their destiny.
Pedro in his studio in Madrid, July 2013.
Kevin showed me some classical music he had in mind when writing the screenplay and some instruments he wanted to use in the project. He told me they were shooting in September and wanted some of the tracks of the score to be done by then. That was just the beginning of an amazing process.
Music in Films
In my opinion, there are four aspects that are needed in order to make a good film: a good screenplay, a good director, good acting, and a good score.
When I started focusing my composing on cinema, I started realizing how important a good score is for a film. I actually think that music creates the magical environment needed for a film. Music is another kind of narration, apart from the screenplay and the visual narration made by the director. More importantly, music helps to tell the story with the intent of immersing the audience in the movie.
What would the famous shower scene from “Psycho” be without the screeching strings by Bernard Herrmann? Or the scene from “ET” with the kids peddling their bicycles through the sky with the moon in the background, without the music by John Williams? Or the Hobbit´s Shire in “The Fellowship of the Ring” without the music by Howard Shore? I am sure you can imagine dozens of examples, and by then you will realize that those films would not be the same without that music.
Photo credit: Universal Studios
The question now is, what do you consider a good score? Well, there is not a perfect theory, but I usually consider two kinds of scores.
On the one hand, are the composers who just use the music in the background of the film in order to create the perfect environment for the film. In these kinds of scores, the music is so well done that when the audience leaves the theater, they do not realize that they heard a score. Some examples could be amazing composers such as Thomas Newman or the Spanish composer, Alberto Iglesias.
On the other hand, are the composers who use a lot of melodic music that goes directly to the mind of the viewer. Most of the “famous” composers are from this second group. But there is a big problem with this kind of music; they have to have caution in order not to distract the viewer from the film. And that is a very difficult task. Wonderful composers such as John Williams, Hans Zimmer, or James Horner are from this second group.
The script to “Tempting Fate”
The Process of Scoring
The process of scoring all starts with the reading of the screenplay. In the case of “Tempting Fate,” Kevin sent the screenplay to me after the contract was signed in late July. I read it three or four times in order to fully grasp the film´s message and get a feel for the characters. I took a lot of notes about what scenes needed music and what kind of music was needed. Then I start the composing process.
Most composers start creating the score when they get the film, but I have always preferred to start the scoring even before the shooting starts. This makes the composing more fluid for me, and because it is better if the director has the music while shooting the film. This also allows the director to plan the film with the music in mind.
I always write around two main themes, which usually are linked to the main characters.
- First was the “Love Theme”, about the love story between Edu and Tracy. For this theme I composed very melodic music with a violin solo and a piano in order to get a romantic melody that was going to be used in the most poignant moments of the film.
- Second was the “Brother´s Theme”, about the relationship between the two brothers, Ugo and Edu. I made different variations of this theme throughout the film, because of the different facets of their relationship. I used the guitar and clarinet in the good moments, the piano and the violin solo for the bad moments, and the woodwinds for the background scenes.
Music Composer Pedro González Arbona
“Tempting Fate” was shot in September 2013, and during that time Kevin and I continued to keep in touch. He told me very important details about the filming. With Kevin’s keen directorial insights and the screenplay in hand, I had lots of inspiration to compose the score.
After the composing process was completed, and after I received the final edited version of the film, I started what I call the synchronizing process. This process consisted of comparing the music I created, with the scenes from the film, and deciding what music to use, what not to use, and how many changes were needed.
Finally the time came for the recording process. As violin and piano were the main instruments in this score, professional violin and piano players were hired for the recording. A soprano, a guitarist, and a percussionist were also hired. It was so exciting to be at the recording studio and to see my compositions come to life thanks to them.
So this is the end of this amazing project which involved so many different people from so many different countries such as Nigeria, India, Spain, and the United States.
I am very thankful:
- to the head of the project, Kevin Kwankwor, for giving me this opportunity;
- to Francisco Arbona, for consulting with me on the music;
- to José Iglesias, the director of the musical academy where my music foundation was formed;
- to Ardis Nelson, my manager, for helping me so much with my composing career and producing my first two CDs;
- to Guillermo Servera, for introducing me to orchestration software and for sharing his expertise with me so many times;
- to Chani Bas, for giving me my first job in the cinema;
- and to my parents:
- my father because he played the piano and immersed me in what is now my passion for music,
- and my mother who expanded my musical knowledge so well and instilled my Christian beliefs.
Congratulations to Pedro and the entire cast and crew of Tempting Fate. I am proud to support the release of this faith-based movie across Africa and beyond.
Below is a slideshow of images from the press tour and the Lagos premiere on July 10. Special thanks and credit goes to Chris Willard at willardphotographic.com and the Nigerian Press for use of many of these photos.
For up-to-date information about Tempting Fate and to view more photos, check out the movie’s Facebook page. Stay tuned for more updates on Pedro’s musical pursuits, and an exclusive interview with co-star Dan Davies. He is nothing like Scorpion, the evil character he so convincingly portrays in the movie.
Making Me Bold 