Speaking to NME in 2019, Berninger said the songs he wrote for Cyrano were “some of the best” he’s ever written. They’re National songs in a way, and have an interior, intimate feeling, and weave in and out of the narrative seamlessly.” It isn’t a normal musical with the big, slamming needle-drops. We had a lot more control, and this part of the process we really enjoyed digging in deeper.”īryce: “For the plays, we had to write music for a Broadway band to play, but the way that we play is quite specific so it was great to be able to finish the songs how we wanted. It’s a different medium than working in theatre, and also we’re playing all the instruments for these versions. With the actors, in terms of their singing, all the vocals are recorded live. The film version is elevated beyond because of Joe’s work in developing it further with Erica, and focusing in on what he wanted to achieve. Before they shot every scene the music was discussed, and they shot around the music – it’s woven in at a much, much deeper level than we’re used to.” How do you feel the music has changed between the stage version and the upcoming film and soundtrack we will see and hear?īryce: “The great thing about it was that we basically had four years to work with the songs and change them, and it was in development for quite some time.”Īaron: “The music developed and evolved between the Connecticut and New York productions. Whereas with this film, we were on board long before it was even an idea for it to be a film, so the music was in the conversation from the start.
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I had three weeks of rehearsals on set with the actors, and one really special thing about this whole situation is that typically when you score a movie you see it once it’s shot, or even sometimes once they’d finished editing. It was really moving, and that was the beginning of the project.” Was the story of Cyrano De Bergerac one that you were both familiar with growing up, and did that affect how you entered the project and the type of music you wanted to create for it?īryce: “I was able to go to Sicily, and was on set for part of it. We had given her quite a lot of unfinished National sketches, or my brother and I’s new music that could have potentially been National songs, and Erica played a playlist of the music we sent in the background while actors read her script. She wrote to Matt and they got in touch, and Bryce went to an early reading of the play at her house in upstate New York. NME: How did you first get involved with the project?Īaron: “Erica had the idea for adapting Cyrano for the theatre for years, and she had the idea to collaborate with us as she was a big fan of The National.
In a UK exclusive interview, the Dessner twins told NME about being approached by Schmidt to create the score for the musical, how the music shifted and evolved into the forthcoming film soundtrack and why Bryce living in France gave the project an added sense of weight and responsibility.
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