Muay Thai meets globe-trotting romantic drama is what Nick Sasso’s recently released film, Haymaker, is being labeled. It’s much more than that too, as it draws from Sasso’s real life past. The film stars Sasso, Jessica 6 singer Nomi Ruiz, John Ventimiglia (The Sopranos), Udo Kier (Blade), D.B. Sweeney (Major Crimes) and Zoë Bell (Death Proof). To learn more about the creative process, we spoke to the film’s composer Chris Thomas. Some of Thomas’s other credits include Don’t Look Back, Woman Rebel, Moose and Cadaver. In the exclusive interview below, he talks about everything from his background in Muay Thai to what instruments he used. Haymaker is available now on VOD. Thomas’s original score for the film is now available digitally too.
Nick Sasso wrote and directed Haymaker, but also stars in the film. Have you ever worked on a project where the lead actor was the one giving you musical direction?
Wow, I hadn’t even considered this occurrence! I suppose it was my first time answering to a singular writer/director/star. I’ve worked on several productions with a writer/director figure at the helm. My recent work on Don’t Look Back was just that situation. That said, it appears Nick Sasso holds the distinction of being my first triple threat of a boss.
In the opening club scene, did you use synths to create that musical sequence? If so, what type of synths?
I’m glad you mention this opening scene. I think it was an innovative and surprisingly artistic way to portray a sexual assault sequence. Nick took something that should have been visceral and fierce, and somehow delivered a very personal and meaningful scene. So, to your question, I did use a bed of mellow synths. However, most of what was in that music was violin, cello, and piano parts that I played and manipulated myself. I was hoping they would become indistinguishable from the synth textures. 
The first nine minutes of the film has music playing under the scenes. I noticed it becomes louder and softer at difference times throughout those nine minutes. How did you decide what the volume of the score was going to be during this sequence?
The first several minutes, starting at the club until after the assault, was scored directly. I tried to follow the arc of drama in that scene, scoring it moment to moment. Nick and I took a lot of time trying out new ideas and emphasizing moments in various ways. However, I did compose a separate track for the next scene where Nomi and Nick talk at the bar. Nick thought it was best to keep tones from the previous scene unbroken through that conversation as well, hence the 9 minutes of continuous music.
There seems to be an Asian vibe to a lot of the score. Was that intentional?
Interesting observation, I hadn’t realized there was an Asian vibe in the music. That said, I wouldn’t be surprised if it were there. My own practice with Muay Thai and other visual inputs from the movie may have directed me toward something musically Asian at its core. In fact, I can empirically say that much of the melodic content (especially in the violin melodies) is derived from the pentatonic scale. That particular mode has deep connections to Asia.
This film centers around a Muay Thai fighter. We read that you are also a Muay Thai fighter. Because of this, do you think you approached the film differently? Then someone who doesn’t really know anything about the sport.
I would say a big “yes” to the fact my Muay Thai background altered my musical approach. It wasn’t so much that my fighting days helped me. Nor was it that my musical approach would have been that different from another composer. The difference was understanding what Nick was capturing with the camera. Some of those details would make any Muay Thai fighter a little misty. For instance, during the final fight, there is a flashback to the Mongkol (a special headband given to a fighter from their instructor). It is a very spiritual gift, something hard earned, and is to be treated with great respect. It hangs in your corner while you fight, and it is believed to protect you in the face of danger. The way Nick positioned small, strategic details in the frame that carry great emotional weight for me. I fought like hell to make sure the score acknowledged this. 
Expanding on the previous question, was this the perfect film for you because of the Muay Thai element?
Oh, it was a dream come true! Having a background as a string player, and as a Muay Thai fighter made this a uniquely special project for me. Every detail in this score was personally important to me, as if letting the film down in any way would be letting myself down. I’m immensely happy with the score, and put my soul into creating it.
When Nick goes to Thailand, did you use any instruments that are native to that culture?
Actually, I avoided using musical influences from Thailand (and other places) while scoring the film. I would have loved to explored a wider variety of colors, but the film was begging me not to indulge that desire. I intentionally kept the music as stylistically consistent as possible. No matter where the film ventured, the score was firmly centered around the characters and story.
What sort of drums did you use in the final fight? Did you use the saxophone in final scene too?
The final fight scene was a lot of fun to score. No saxophones were featured here, but we certainly unleashed an arsenal of monster drums for that scene. The first half I wanted to score with percussion only. It was the only area I really broke with the rest of the score. It was my only chance to score a few minutes of film that wasn’t completely psychological (seen from the perspective of the character). It was purely physical for the first few minutes of the fight. We recorded countless layers of Taiko drums, mondo toms, gongs, and a hundred other small percussion instruments at my own studio. I’m a really big percussion fan, so this was a gratifying stretch of music!
What’s next for you?
With the pandemic it’s hard to say what will fully materialize next. At the moment, I’m writing a new concert work for solo guitar and string orchestra, and releasing my masterclass on film scoring very soon. I’m always looking for something new and unexpected to dive into!