After looking at Ryan Shore’s resume, one can see the diverse musical palate he has. Whether Shore is studying Scandinavian folk music for Cave, conducting orchestras for The Pokemon Symphony or scoring a Star Wars series, his fresh perspectives continuously shine through and add another level of emotionality to any project he is working on. It also helps having a great mentor in the family, Ryan’s uncle is the Academy Award winning Howard Shore, whom has scored films such as Big, Silence of the Lambs and The Lord of the Rings to name a few.
Below in this new interview, the Emmy and Grammy nominated composer discusses many different topics such as John Williams, scoring with found objects and working with Barry J. Kelly.
When was the first time you realized, or even noticed a film/TV score?
Ryan Shore: The first time I started actively listening to film scores was around 1991, which is when I started really listening to my uncle Howard Shore’s scores for Silence of the Lambs and Prelude to a Kiss.
In all the scores you have done, do you think you have a common trademark or specific sound?
RS: When I’m scoring I try to compose music which I think feels truthful and appropriate for the project. When I’m fully focused on those aspects, then I’m usually not making conscious efforts to place any type of preconceived personal musical trademark or specific sound into the music. That said, after the creative process, if the music should have any personal common trademark or sound, then that may most likely be by happenstance and not by deliberate choice.
Barry J. Kelly is the director of a lot of the Star Wars Galaxy of Adventures episodes. What was his direction or notes for the series?
RS: I work very closely with Barry throughout the series. We begin by watching each episode together and discussing what type of music he’d like to have for the individual moments and scenes, where certain character themes may be heard, and the emotions he’d like the audience to feel.
You have been lucky enough to work with John Williams before. Besides Star Wars obviously, what is your other favorite John Williams’ film score?
RS: I have so many favorites. Indiana Jones, Catch Me If You Can, Sabrina, E.T., Jurassic Park, Superman, Home Alone, and Jaws all come to mind, however there are so many that it’s quite challenging to narrow down to even a short list.
Your new VR film, Cave, uses Mass Audience Synchronization Solution (MASS), which allows audience members to see and hear the digital content as if they were at a live theater or concert event. Because of this feature, did you have to do anything different with the score to make it sound more life-like?
RS: I approached this score in very much the same way I approach other scores I compose, which is to primarily focus on the direction, storytelling, characters, script, narrative arc, pacing, colors, and the emotions we’d like the audience to feel. I greatly enjoyed creating the score for Cave as I was able to study Scandinavian folk music, and then compose my own music in those styles. I then was able to feature those elements while they are being supported by a western orchestra.
A common trademark for composers is creating music out of found objects. Did you incorporate any non-instruments into Star Wars Galaxy of Adventures or Cave?
RS: The score for Star Wars: Galaxy of Adventures is composed for symphony orchestra and choir. There are a few times I’ll include electronics and/or contemporary musical elements within the music, and when I do I will often create those sounds from various found objects. The score for Cave is also primarily acoustic, however there are a few of these types of found-object elements which I’ve woven into the fabric of the score.
Do you have any goals for yourself in the next five years musically? Or projects you would like to work on in that time?
RS: I’m excited about continuing to find new musical challenges through projects in varying media, such as film, television, virtual reality, games, theater, and live concerts. In addition to composing, I’d love to conduct more live concerts, as I’ve had the pleasure of conducting Soundtracks Live! and The Pokemon Symphony in concerts recently, and it’s an absolute thrill each time I’m able to work with wonderful orchestras in live performances.