Jake Monaco is a successful score composer of film and television, who can be heard in such titles as Netfix’s Dumplin‘, Warner Bros. Be Cool Scooby-Doo and many, many. He has also composed the music for the upcoming Disney/Pixar animated short film series Forky Asks A Question, based on the beloved new character from Toy Story 4. We had a chance to talk with Jake about his career and the new series. Here’s what he had to say.
Thanks for taking the time to answer a few questions. It’s great to have a chance to learn more about you and your music. In fact, let’s start there. Could you offer a little background in how you got started in the business?
Jake Monaco: Surely. I started playing guitar at a young age and then more seriously in high school. I continued through college and then started playing in a band, touring around the east coast a bit. A couple years after graduating, the band dissipated and I was looking for another avenue to continue my career in music. I learned about USC’s film scoring program, flew to LA to visit, and immediately fell in love. Just before graduation, I was offered a position with composer Christophe Beck, which led to an eight year assistantship/mentorship. Eventually in late 2014, I was offered the Dreamworks show DINOTRUX. At that point, I ventured out on my own… and here we are today.
I want to sort of veer off track a bit before I get more in-depth on your work and ask you if there are some film composers who have been influential in your career and if you could tell me about about who they are why?
JM: When you work with someone for as long as I worked with Chris, I think we ended up influencing each other to some degree. Aside from Chris, I would say Thomas Newman is definitely up there. I so appreciate his work and his collaborative approach, specifically with the musicians themselves. He has a very unique sonic identity. LEMONY SNICKET’S A SERIES OF UNFORTUNATE EVENTS (2004) is one of my favorite scores.
And if you could sit in on any composer while they worked on a score, who would it be and which film would they be working on?
JM: If I had to choose another, I have been really blown away by Michael Abels’ scores to GET OUT and US. Would love to see his process! In all honesty, I love chatting with any composers about their process. I think it’s really interesting to get an inside look into how they approach different styles, methods, genres, etc…
And with that in mind, if you were to recommend a film score for me, which would it be and why?
JM: All of the above! I’ll throw in Max Richter’s score to AD ASTRA. I love the way Richter (as well as other more ‘minimalist’ composers who primarily write outside of film – Jon Hopkins is another) approaches a score, making so much out of something so minimal and how impactful it is.
Let’s get to your considerable contributions, including a number of scores for shorts and TV series. Is there a score of yours that you feel best illustrates your style or maybe one you consider represents something significant to you?
JM: There is a film coming out next year called THINK LIKE A DOG which exhibits the ‘sound’ that I gravitate towards the most. It has an ‘indy-tronica’ vibe, where I’m using organic and traditional ‘indy’ (a little rough around the edges) sounding instrumentation that I then tweak, effect, mangle, and, finally, combine with contemporary synths in a more electronica style.
Does working on a series with multiple episodes present more challenges than on a single short or film? Or do you find the process creatively equal?
JM: They are all creatively equal in my opinion, of course that’s based on how attached to the temp music everyone is. In some ways, there’s a little more freedom and room for experimentation in a longer running series. If we establish our main character themes over the course of the first few episodes or even the first season, then, as certain events revolve around those characters, the challenge moves from writing a theme from scratch to figuring out how to continually reinvent the way it’s presented. So I don’t have to focus as much on the notes themselves but, rather, how they are arranged and presented.
Is there a genre you like working in, such as comedy or animation?
JM: Both of the above for sure. I have a 5 1/2 year old, so I love being able to share some of what I’m working on with him during the process. Animation and Comedy both keep a certain levity to them which is nice. I’d much rather watch a scene repeatedly and laugh than watch someone being torn apart. Having said that, I do hope to do a psychological drama at some point. Love a good twist.
One of your latest scores is for Disney, with whom you’ve worked before. Tell us about ‘Forky Asks a Question.’
JM: Tony Hale did such an incredible job bringing this new character to life and I was so happy to see Forky getting a little more time in the limelight. Given that Forky is still brand new to our world, he has many questions. Each of the 10 episodes that will premiere on Disney+ on November 12, focus on a single, simple question that one of our other beloved Toy Story characters is invited to answer. Hamm starts us out in the first episode answering the question, “What is Money?” While there is an actual educational background within each short, the comedic banter between the characters is what makes these shorts. Bob Peterson, the director, didn’t want to comment too much on Forky’s specific actions, which honestly was a little bit of a challenge at first. I’m so used to acknowledging comedic moments with music in some way; intentionally blowing past them was a bit counter-intuitive for me. After a couple rounds, passing demos back and forth, it finally made sense; Forky’s character is strong enough to hold most any scene and the music is really just there to help set the tone and pace. In the back five episodes, we get a little fancier, diverting from the small jazz combo that is the center of the score for the front five.
Does working with such a large studio on such a recognizable and beloved franchise put you in a different mindset while writing music?
JM: There’s definitely a little more pressure. Not from Pixar or the creative team by any means, but mostly self imposed; I love this character so much and want anything associated with him to be the best it could possibly be.
How much does the original film and the character of Forky himself influence the themes you put together for the short?
JM: The character himself is of course consistent, but in regards to the music, surprisingly, very little. Randy Newman’s scores for the Toy Story franchise are so iconic. FORKY ASKS A QUESTION, as well as the short LAMP LIFE, both divert from that nostalgic sound and embrace their own sonic identities.
You’ve also composed the score for another upcoming family film called ‘Think Like A Dog.’ Is writing music for children a whole different approach for you?
JM: There are concepts that carry from project to project, but I think that mostly has to do with the way I write and the particular devices that I go to. I think it’s less about the project and more about who the audience is. If it’s an educational preschool show, like THE STINKY & DIRTY SHOW for instance, the music is much more closely tied to the individual moments on screen, helping the younger audience to make the connection with the subject matter. FAQ and THINK LIKE A DOG are more geared towards the whole family. Being a parent myself, I always try to keep the adults in mind while writing. I want the parents to be just as into it as the kids are, to help strengthen the viewing experience between parent and child. Treating the music slightly more maturely is a little more satisfying on my end as well.
How closely do you work with the director on projects like these in helping them find and deliver their vision?
JM: Very closely. In fact, that is one of my favorite parts of what I do. I love collaboration and experimentation. Just as a parent feels joy seeing their child’s face light up when they experience something for the first time, I love when a director (or any member of the creative team for that matter) gets excited seeing the demo score come together. Even more so, I love having them at the recording sessions, working with the musicians directly, and really taking a hands on approach. We all love what we do and I thrive on the collaborative process!
Thanks so much again to this, it’s been great to peek behind the music sheets in learning more about you. I wish you the best of luck with you work and hope our paths cross again.
JM: Thank you! The journey with Disney and Pixar continues to be an exciting one, and I look forward to sharing more upcoming projects soon!