March 6, 2017 at 12:25 pm #4753
Schaun Tozer – Canadian Screen Award Nominee
Best Original Music for a Series – The Romeo Section: The China Shop
Edited by Simon Servida
Congratulations to SCGC member Schaun Tozer whose score for “The Romeo Section” has been nominated for a Canadian Screen Award nomination in the film category of “TV: Best Original Music Score for a Series”
Spymaster Wolfgang McGee manages a roster of espionage assets known as Romeo or Juliet spies in The Romeo Section, the critically acclaimed drama about Vancouver’s homegrown espionage scene.
SCGC: What was the inspiration for this score?
ST: When Chris Haddock, the creator/writer/executive producer, first approached me to compose the score for his new CBC series The Romeo Section, we began talking about the 2011 film Tinker Tailor Soldier Spy, directed by Tomas Alfredson, with a stupendous score by Alberto Iglesius. A classic in the espionage genre, the film is very quiet; a nod here, a shadow there, a reflected gesture that leads to something, or maybe nothing. Most of the dialogue is delivered barely above a whisper. Somewhere in there is the ‘tone’ for the score for The Romeo Section. The score “shouldn’t provide any padding to the script, no bolstering non-existent transitions” (almost none), and “no glue for those awkward script moments”. Damon Albarn’s 2002 collaboration Mali Music, track 1, is a musical reference. Somewhere around here is maybe the ‘tone’ for The Romeo Section.
SCGC: What instruments did you use for your score?
ST: Over twenty one hour episodes, the instrumentation evolved to feature duduk, cello, violin, bass clarinet, melodica, and most guitars known to us all. An assortment of blown and bowed instruments underwent moderate to severe twisting, tweaking and scraping.
SCGC: Tell us about some of your additional responsibilities for this project.
ST: Music score placement – at my discretion. Any licensed music, as source, is my selection – and editing – from whatever tracks are available to me. ! As a general rule, no easily discernible melodies were played over any dialogue unless ‘source’. Delivery times were tight. Mix playbacks were also attended by producers, associate producers, post production supervisor, episode editor and assistant editor, and the re-recording mixer. A very fine group of people.
Here is a link to some film clips from “The Romeo Section”: