 Lars Clutterham has worked in the industry for decades, writing jingles, some scoring, and proof reading scores by such composers as John Williams and Alan Silvestri.
How did you get involved with "B: TAS"?
I don't remember exactly how the first contact was made, but Shirley Walker was opening up to a large community of untested orchestrator/composers the opportunity to have a chance at becoming a part of the permanent talent pool for the series, under her direction.
Do you have any memorable moment from your stint?
My most memorable moment was when Shirley graciously took me and one of the other composer/orchestrators out to lunch and told me I hadn't made the cut.
What did you think of the show?
I did not watch the series, probably saw parts of two or three episodes with my son, who was 11 or 12 at the time, but thought it had an impressive contemporary look, and more sophisticated story lines and voice acting than most animated series. The scoring was also capably done.
What was the average scoring like and how much creative control did you have (since Walker was listed as the Music Supervisor most times)?
I believe I only attended a couple of sessions, but my recollection is that, within the limitations of having to get the score recorded in a business-like, efficient manner, we had the option of making adjustments. I was not asked to be present for mixdowns.
What was the collaborative process like (assuming you collaborated with the other composer) and how did you both decide who gets what?
I got some input from Shirley, but I don't recall how the collaboration went with any of the other composer/orchestrators.
For those unfamiliar with who you are, would you give us a little background.
I'm one of hundreds of anonymous musicians who serve the entertainment industry in Los Angeles. Since the Batman series I have essentially been on staff JoAnn Kane Music Service, which is the preeminent music preparation service in Los Angeles.
Scoring for the Batman series was ultimately a flirtation with composition for TV/Film. I was over 40 at that time, and my work for JoAnn Kane Music Service proved to be more secure and more consistent.
IMDB.com only lists just one project -- this show. Can you tell us what other films and shows you've worked on, since IMDB is only as complete as those who contribute to it?
I believe I have a conducting credit thanks to one pickup session I conducted for "Dante's Peak", and I also conducted for an HBO movie on the Charles Lindbergh kidnapping, whose title I don't recall.
Can you tell us about any upcoming projects you have?
I am currently scoring "The Last Word" a feature documentary about Johnny Frank Garrett, wronglfully executed for rape and murder in Texas, those who accused him all died mysterious deaths shortly after the execution. Over the next 3 years I will be scoring 10 more DVDs for the GAIAM Label. I am recording the 3rd of 3 new CDs for GAIAM at this time. Next Fall I will be scoring a 26 episode series for PBS dealing with social issues.
For those reading who are interest, are you for hire or have you retired from compsing, like one "B: TAS" composer already has.
I will be rechanneling my music career in about five years, either in the direction of composition or of classical music performance. As a composer, I will probably be involved in the creation of either sacred choral music or orchestral music. I'm not now actively for hire.
Can you tell us about any upcoming projects you have?
Currently learning a Bach French Suite for the piano.
PUBLISHED: May 31, 2008 |
