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It was shot in Paris, and the actors were fantastic. I just finished one and it had several different names I think it ended up being called Paris, Wine, and Romance. I’ll write a melody for our heroine, and sometimes a counter melody for our love interest, and then apply it liberally throughout the show. I also do Hallmark movies, and I love the Hallmark movies because no one’s getting killed or eviscerated and, there’s a certain comfort, I think, in writing pleasant-sounding music.
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Patric: Yeah! There’s a funny story, I’ll tell you. And everything you compose is going to be dictated at least somewhat by the visual that it’s pairing with or the storyline.Īndrew: Do you ever write lyrics for music? So, there seems to be a lot more latitude in documentary-ville.Īndrew: Yeah. So you know, that’s what was suggested by that documentary for me when I wrote it, by watching the show (with these disembodied spirits, etcetera). I scored it with male choir - bases and baritones - singing various Yiddish and Hebrew words, and then a boy soprano singing a wordless melody over the top of it. I did a show called The Boys of Buchenwald years ago that was a story about the orphans from the death camps. I’ve done a bunch of stuff in the documentary world where I used voices - singing. And it’s very dark and synth-y and drone-y and we had a lot of fun doing that.ĭocumentaries, they build their own voice, their own palette.
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I just finished a synth score actually for Karen Lam’s new movie which is called The Curse of Willow Song, which will be coming out soon. You can go from orchestral to synths, etc. My collaborators in the horror genre generally are pretty adventurous. I’d love to invent a new trope.įor the horror stuff, I have a lot of latitude in that. There are certain tropes that actually are effective still to this day. It’s more a question of reinventing them or disguising them. But those examples are against types.Ī lot of times people will say “Well, we don’t want any of the clichés” and then you find sometimes the clichés are there because they work. Alf Clausen on The Simpsons did some great stuff. But then there’s John Kricfalusi who did The Ren & Stimpy Show and came up with that ‘other’ sound for cartoons. So that classic jazz orchestra seems like a cartoon sound. When you think about cartoons, I know my mind goes to Carl Stalling, The Flintstones also, you know… and what I did on Ed, Edd n Eddy was a jazz-horn kind of sound. Which is actually what I’m doing here in Nashville right now.Īndrew: Are there certain instruments you find work better for different genres and media - from cartoons to documentaries/etc.? And then in my down time it might seem strange, but I don’t think a plumber goes plumbing in their off time.
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Then, a lot of time writing music, producing it, making it for TV and whatever shows I’m doing. I spend a fair bit of time studying and a fair bit of time watching other people’s work - television and film stuff. It’s not that I never do it, but it’s rare. Patric Caird: To be honest, I seldom sit around and just write music unless I have a show to do it to.
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Hopefully you put the same amount of care and attention into writing as you would into playing someone else’s music.”Īndrew Cheek: You have extensive experience writing music for television and for film - from Ed, Edd n Eddy on Cartoon Network, to horror films, to recently scoring the Netflix series The Order - how has this aspect of pairing music to visuals and to a storyline shaped your approach to musical composition as a whole? I think writing is interpreting music, and expressing it. “Interpreting other people’s music, taking someone else’s melodic line - what is the difference? I don’t see a difference. Patric Caird, photo by Michael Becker Photography.