Time to read : 17 minutes
Today’s interview gives me the chance to talk with an amazingly renowned and recognized composer to date – Blair Borland! Blair is famous for many outstanding projects, some of which you may have already heard of, like “Apex Legends”, “Watch Dogs Legion”, “Mortal Kombat Resurrection” and many more!!
Thank you sooo much for taking the time for this interview. I’m really honored to have you here! 🙂
I’m honored to be here! 😀
So, Blair, for the first question, how did you find your calling as a composer?
I grew up playing music in my church. I became very skilled at guitar at an early age, after my uncle gave me a classic rock CD. I would play halo with the game completely muted and listen to classic rock. Try driving a warthog while listening to “Freebird”! It’s a kick. I also watched 1-2 movies a day when I was in Jr. High, Highschool, and College. I just absolutely fell in love with the art form. To this day, there’s still no better place in the world than seat B7, front middle, in a good movie theater! I always wanted to do this for a living, but I didn’t realize it was a realistic possibility for me until much later.
I went to college for something other than music, and was planning on living my life doing something other than this. Unfortunately, the reality was that without music, I got pretty depressed pretty quickly. My wife and I decided that we’d try out the Berklee Valencia program for film scoring! I applied late for the late deadline, and with very few spots left in the program I got in. I graduated at 26, and I’ve been doing this for 6 years so far, and I will never do anything else.
In the introduction part, I mentioned many famous projects, movies, and games alike. I wonder, what led you to your first feature project? Additionally, which project are you most proud of?
My first project was a fluke! Luck, for sure. I always try to let people know that I have absolutely worked very hard at what I’ve done, but luck is a real thing, and no one deserves 100% of the credit for where they are in life.
I had seen a guy named Stephen Barton say a few things that I liked on a Facebook group and I reached out to him and let him know that I thought he was cool, and that I’d love to assist him at some point. He said that he might need someone down the road, and to send him a resume and some music. I did. But he never got back to me! I was absolutely sure that he hated my music.
I was so embarrassed. But, even so, 3-4 months later I had a trip to LA for unrelated reasons.
I asked him while I was there if he wanted to grab some coffee, and he surprisingly said yes right away.
We got coffee and chatted for about 3 hours. It was a great time. He basically offered me a job on the spot! Now, while that job did take about 18 months to fully materialize, it was a good job. Fair pay and good work. I did a little guitar recording on season 1 of Apex Legends and then immediately started to do actual additional writing. So my very first job in Hollywood was a writing job. Now THAT is lucky!
As far as a project I’m most proud of… I’m not quite sure yet! I’m pretty self-critical.
I’m generally proud of a lot of stuff that I’ve done, but I’m still spending a huge amount of my time mastering my craft and trying to be undeniably great at what I do. I should say – I haven’t written my E.T. yet!
How do you approach incorporating different musical genres/styles into your compositions while maintaining your unique voice?
My wife and I joke about this sometimes. I’m always aiming to be thematic and memorable in a way that’s fun and easy for the audience, while hiding complex musical elements within (a spoonful of sugar helps the medicine go down!).
She says I write “bangers” haha. I think this will be most apparent with the work I’ve done on the upcoming “Multiversus” soundtrack (I wrote the music for the Teen Titans! Woot woot!) I’m great with the details of production, and my ear has served me very well.
I listen to a reference track, reverse engineer it’s sonicingredients, and then I create a melody, motif, or some kind of thematic material that I find interesting enough to build a production around. I also love combining and mashing up genres, but my thought is that as long as the main theme is something that keeps you invested, then most genres are very fun and listenable, and will keep a listener returning to hear the music that made them feel a certain way in the first place.
Speaking of which, in which genre do you feel most comfortable producing, and in which do you find it difficult to maintain your sound?
That’s a hard question to answer. I love impossible challenges. Now, mind you, I didn’t say “difficult” challenges.
I love it when people say “you can’t do this.” It motivates me deep down in a place that is a pretty huge part of who I am. I’m positive that if you say it can’t be done, that I’m the one who can prove you wrong. And to be fair, a lot of times I’ve been right.
That being said – I’m very comfortable producing almost everything, but I love super orchestral stuff. Friends have said I sound like James Newton Howard, James Horner, or Howard Shore when I write orchestrally.
I find the complex textures of John Williams (think of battle/quidditch scenes in Hook/Harry Potter where instruments are constantly trading off the spotlight, but the music is somehow chugging forward) to be particularly hard to imitate, but my goal is to have them functionally and practically mastered in the next year or two.
I also find Hip-Hop a bit more difficult to genuinely reproduce. I’m a very un-funky white guy from the suburbs of Washington State,so it’s not the first type of music I turn on just for enjoyment.
I find that my blues background is helpful – I’m always cognizant of the nebulous “groove” regardless of what genre I’m in, thanks to the blues, which I’ve long studied and always loved to play. That kind of internal guide has helped in recent projects like Apex Legends “Sun-Squad” where I was asked to write nearly 10 minutes of Reggeaton Music for the popular multiplayer game.
Do you have a preferred instrument or group of instruments that you enjoy writing for? If so, why?
Of course I’m partial to guitar, but you know what instruments I love?
Instruments that don’t get a lot of love. I adore instruments with character. Instruments that speak with more than just the notes, but with the very timbre that they’re made of. Things like viola, tenor recorder, oboe, contrabass flute. I would love to write for Lawrence Power someday! Such a wonderful Violist, and incredible tone paired with the very natural character of the instrument is such a joy to listen to. Check out his rendition of Benjamin Britten’s Elegy for Solo Viola.
How do you approach the use of instrumentation and orchestration in your compositions?
The honest truth? I find a master and rip them off! haha. Maybe I’ll come to a point in my career where I will write freely from my heart and it will automatically be a masterpiece, but my inspiration nearly always comes from hearing the works of people who have mastered their craft before me, and studying very deeply what makes it great. I’ll listen intently for how they’re orchestrating chords, both in their harmonic formation, but also in their instrumentation. Maybe it’s wurly, guitar, and bass, or maybe it’s a powerful chord for full orchestra, like the opening of Star Wars, but whatever it is, I am absolutely going to rip it off. Not the notes, per say, and not the harmony – but the INTENT of whatever has been written. The organization. The systems. The thought. I try to steal the thoughts of masters, and incorporate them into similar works of my own, while also trying to incorporate my own motivations and thoughts into their mastery.
What do you find most fulfilling about being a composer?
When my music has welled up emotion in somebody!
I often joke – “I want to make people cry!” and that’s the truth. I love it when people tell me that my work brought them to tears (often in a supporting context within someone’s film!). I started doing what I do in order to help people feel good. That’s why I compose for film! I want to write for Marvel films, big budget pictures, etc. so that I can give people real emotional experiences that can make their lives, on any given day, maybe 20% better. But hey, if I could get so good that we can bump that up to 30% then I’ll take it!
Are there any specific composers or musical works that you find particularly inspiring or
influential?
There’s really too many to name…Avengers, ET, most anything by Tchaikovsky, Copeland, or
Korngold, but here are film tracks in particular that are my favorites –
“Goodbye” Maze Runner Death Cure by John Paesano – It’s a truly great piece of music that’s just incredibly emotional. Simple but not dumb, emotional but not cloying. It’s clear that he wanted to wrap up the series with an awesome piece, and he did.
Cinema Paradiso by Ennio/Andrea Morricone – I’m not blowing anyone’s mind by saying this score is good, but ya’ll…this score is GOOD. It’s honestly one of my favorite things to listen to in existence.
Jungle 2 Jungle by Michael Convertino – This seems to be a score that most folks don’t know about. It’s not even available on Apple Music or Spotify, just a homely cobbled up video on youtube where someone has ripped a lot of it directly from the film. It feels like Thomas Newman meets Bruce Broughton with dramatic sensibilities that make the movie feel about 10 times weightier than it had any right to be in the first place. Check it out.
The Orville Main Titles by Bruce Broughton – Just genuinely fun and good music Anything by Ludwig Goransson. I love his balance of classic Hollywood-meets modern production sensibilities. I will take that sensibility with me into most of the films I score!
Speaking of which, who are your top 3 composers that you would love to meet and talk in person?
1) Thomas Newman – Seems like such a sweet guy. Really thankful for Rick Beato’s interview of him! Felt like I actually did get to chat with him.
2) John Debney – Again, an absolute sweetheart of a person, and his body of work speaks for itself.
3) Finally, I’m sure that this is cliche, but I need to shake John Williams hand at least once in my life!
Can you share with us some of your memorable experiences of having your compositions performed live and the impact it had on you as a composer?
There are probably much better people to ask about this! I’ve lived in such a digital space for most of my career. In fact, I’ve gained a reputation for being the “good mockup guy”! That being said, I’ve had probably 5-6 pieces performed by incredible orchestras, and the most memorable one was at the end of my Masters degree. I got to conduct the London Symphony Orchestra at Air Studios. The impact that it had on me was – ‘hey, I actually feel really comfortable up here in front of these folks. I think I may actually belong doing this!‘ It wasn’t the feeling I expected, but I just LOVE being in front of the orchestra, helping to emotionally guide the ship.
Do you probably stumble upon creative blocks? If yes, how do you handle them?
Hah! Oh yeah I do. First I’ll say that when I have a film to score, I do great. There’s honestly not a place I like to be more than having scenes to score or “dirt to move” as I sometimes put it. But then, in times when I don’t particularly have meaningful work being given to me, I can very much struggle. Here’s what I’ve learned. It’s true for me specifically, but maybe it will resonate with some of you folks as well.
My creative blocks come from fear. Fear that I’m not going to be good enough, or be perceived as talented or skilled at what I do. Some people have found different techniques that help them through those moments, like speedwriting, but for me it’s a combination of two things.
1) I need to confront the fear head on. Admit that it’s there and go to war with it. I don’t have to be scared, and I am gonna try my very hardest and I AM going to conquer what I’ve set out to do.
2) I need a task for myself that actually means something.
Not busy work. Not just “practice”, but a task that will add to my reel, or help pitch for a film.
Something that brings a modicum of meaning into my life and is not empty.
When I can do those two things (after about a week of having no idea what to do), then I start to burrow into my work and do really well.
Are there any specific emotions or moods that you consistently aim to evoke? I’m curious
about this one 🙂
I mean my first answer is – whatever the film calls for! My number 1 aim is to support and prop up the film.There is a second feeling, though, and I think it can be summed up in 3 of John Williams musical moments.
First, the final brass fanfare of ET. Second, the end credits of Star Wars where it LIFTS into the credits, instead of musically “dying” or falling into the credits, as most film music does. And third is the final nod to Hedwig’s Theme in “Leaving Hogwarts” where the motif is presented in Lydian, instead of it’s normal minor mode. I think I can say that I describe this feeling as an emotional lift, maybe awe? Where you start to feel like you’re coming off of your seat, and flying right into the screen.
The narrative is sweeping you away into the picture via the music. I find that a movie’s story does so much of the heavy emotional lifting, but music, when done right, has the ability to absorb you straight into the emotion of a film, where the barrier between you and the screen becomes nearly invisible.
In situations where you receive a theme from a client, create a composition that you’re extremely proud of because it sounds incredible, but the client doesn’t share the same enthusiasm, how do you handle and navigate such circumstances?
That’s a great question! I have to admit first that it always hurts, and I don’t think it will ever stop hurting. But second, after you absorb that first sting of pain, remember that the relationship between a composer and director/producer is a two-way street and an incredibly important collaboration in the success of a production.
There are 3 ways I handle this criticism –
1) If I realize I’m wrong, I just change it and move on. It’s their film and it’s very possible that I
misread or mishandled the scene. This does happen, and I have to have enough humility to admit it sometimes.
2) If I think I’m right, then I will do exactly what they ask for to 100% of my ability, but I will also develop my own idea. Then I will submit both. Sometimes they will accept my idea! And sometimes they’ll continue with their own.
3) If I’m sure I’m right, then I will continue to make small changes to my original vision of the
scene. This isn’t meant to be manipulation, but rather finessing what I believe works well in the scene to the director’s vision.
You’d be surprised how very slightly changing a cue 3-4 times will get a director to come around to it. I think this is partially because they’re getting used to your vision for it.
I definitely don’t try to over-use this method, because that could become infuriating for the director quickly to only get small changes (especially if they asked for big changes), but it’s absolutely a method I use.
Funny question – have you ever found yourself analyzing a track instead of simply experiencing and enjoying the music? Does that happen a lot?
Oh, absolutely! I live in the details. I hardly listen to music solely for enjoyment.
In fact, I don’t think I have the ability anymore to listen without also analyzing. But I do watch films and TV every single day, and those are my passion, and I feel that I’m able to absorb and enjoy music much better that way.
Continuing on the previous question – do you think this is a curse or blessing? 🙂
Absolutely a blessing. Sure sometimes it can get irksome that I can’t turn my brain off,
but ultimately it’s like getting to constantly solve the worlds funnest puzzle in your brain. Some might think that’s unbearable, but for me, it’s like free entertainment!
Lastly, looking back, 10+ years, you’ve made a significant progress in your life, checking almost every mark, and accomplishing the composer’s dream! So I wonder, what would you say to your younger self If you had the chance?
Well, I certainly haven’t accomplished my dreams yet. If you see me composing for Avengers,8-10 about 15-20 years from now, then yes! Absolutely, I’ve fulfilled my dream. That being said, I have had successes that younger Blair only dreamed about. So, I might say something like this:
“First, it’s going to be ok. You are going to be ok. Don’t worry to much about what people think of you, or how you’re going to be perceived. You’d much rather fail at what you want to do, than fail at what other people want you to do, because life is hard and failure is a real option, no matter what path you take.
Find the things in your life right now that bring you the most joy, the things that you are very best at, and dive into those things with reckless abandon. Have a great time. Success will NOT come instantly. But if you have fun and do what you want to do, it WILL COME SOON. Follow your passions, be a genuinely kind, generous, and curious person, and make music that moves you first, it’ll start to move others soon enough.”
I understand that you’ve probably had countless interviews throughout your career, some of which you may have heard many times before. So, I just wanted to take a moment to genuinely thank you once again for this wonderful interview! I wish you a lot of success and even more exciting projects in your musical journey! 🙂
Thank you! I’ve had a great time, and I thought the questions were wonderful! 🙂
Alan Špiljak 