I thought it was cool that they were able to drop a little Easter egg or advertisement at the end of Pearl to let you know that the story is not complete yet. We weren’t done with Pearl yet when Ty mentioned the prospect of MaXXXine, and sure enough, that was greenlit as well. And then, Pearl came out beautifully, I thought, and that’s when MaXXXine was introduced. Pearl, I thought, was very interesting because A24 had told him that they were not only into it, they wanted to release it the same year as X, which is a pretty rare occasion for a director to have two films released in the same year, especially with the same studio. That’s the dumbing down, I guess, of our conversation. I was working with Chelsea Wolfe, and Ti and I were talking concept X, and that led to maybe somewhat of an experimental, avant-garde, vocal-centric-type score with atmospheres and unsettling sounds that might prick your brain a little bit. X I thought was great, too, and it was a tremendous opportunity just because of timing. So, lo and behold, a couple of weeks later, he gave me the word and sent me the script, and I was absolutely blown away by Pearl. As we delved deeper into that conversation, he let me know that he and Mia Goth wrote a prequel to X and hoping that A24 would be receptive to making sequentially, since they already had the sets and the crew, and it would be not only cost-effective but really creatively advantageous to have that sort of continuity. It was during COVID, and he was in New Zealand setting X up. We had a great experience working together and stayed loosely in touch over the years. Tyler Bates: Years ago, Ti and I did The Sacrament, which was around 2013-2014. Tyler Bates photo by Jim Louvauīelow the Line: How and when did Ti reach out to you about scoring X and Pearl, and were you aware of his plan to make two - now three - movies back to back? The scores for the two films are very different from each other, as X involved a lot more sound design and female vocals (provided by Bates’ musical collaborator, Chelsea Wolfe ), while the score for Pearl is reminiscent of an old-school Hollywood production, with lush orchestral passages that veer far away from anything one might expect from a modern genre film.īates also has a thriving career as a musician, music producer, and recording artist himself, so he has a busy schedule and we’re grateful that he was able to make some time to hop on Zoom and speak to Below the Line for the following conversation. All three A24 films star Mia Goth, although she plays a dual role in X that becomes far more interesting as we learn more about one of the characters in Pearl. Musician and composer Tyler Bates has been making music for movies and television for many decades, but his work has become far more prominent working with the likes of Zack Snyder ( 300, Watchmen), James Gunn ( Guardians of the Galaxy), David Leitch ( Deadpool 2, Atomic Blonde), Chad Stahelski ( John Wick), and Rob Zombie ( The Devil’s Rejects, Halloween).Ī few years back, Bates came on board to score filmmaker Ti West‘s yet-to-be-named horror trilogy that began earlier in 2022 with X, continued with Pearl in September, and will conclude next year with MaXXXine.
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