Tár, Women Talking Composer Hildur Gudnadóttir Could Set Oscars Record – The Hollywood Reporter

Hildur Guðnadóttir won the Oscar for Best Original Score for his work in 2020. Joker, firmly in the awards-season conversation, is back with two film scores this year. With Todd Field’s work Tar and of Sarah Polley talking women, She could make history by becoming the first female coordinator to be nominated twice in the same season. The Icelandic musician spoke THR Both about their processes for films and whether the industry is becoming more open to female composers.

This year you scored two films. Which came first?

I started Tar Before, but I think I’m done Women are talking Before I finish Tar. So they were running a little bit at the same time, but in a good way that didn’t completely overlap. I have time for each.

Is it normal for you to take on several projects at once?

I really like to attend to the project I’m working on, so I don’t like to work on multiple things at the same time. I was above Tar For a year and a half, but I haven’t been 100 percent full time for a year and a half. I have some flexibility at that time to take on other stuff, so if the process stretches, it might work to work on two things at the same time.

How did your conversation to compose for both films begin?

Both directors called and asked if I was willing to work with them! Both the projects are very amazing and exciting to work on. In addition Tar, I got to work on something I’ve dedicated my life to in a film with amazing artists that I really admire. For Women are talking, it’s obviously a different subject, but it’s an incredibly compelling and important story. I really enjoyed working with it. And Sarah Polley is absolutely amazing as an artist, activist and feminist. She’s so incredibly inspiring, how she approaches things that aren’t so easy, but I think she has a wonderfully human way of approaching whatever she’s doing.

Focus features Cate Blanchett (front) and Sophie Kaur Tar.

Courtesy of Focus Features

How does your process differ between films?

The process was very different, I would say. Tar It’s more of a character study than necessarily a story. I was really delving into this character and her past, her future, her present, the way she relates to music. It was very different from any other film I had worked on, because I was writing the music partly That is She was, so I put myself in her shoes. It was a very complex process and very delicate to work with. Women are talking, on the other hand, is a more traditional score; It’s a thematic score, which is partly very melodic. Obviously, the movie is based on a novel, so there’s a traditional sense of how the music follows that narrative and storytelling in the classical sense. It’s based on real events, but it’s presented as a fable – it’s almost like a fairy tale, so the music falls under that umbrella, which helped us shape the story. Without your ego or your preconceived ideas about how the music should get in the way, you need to see how the music really enhances the story being told in the most helpful way.

For Women are talkingHow much emphasis did you put on the use of instruments that might have access to the story’s religious settlements?

It was very important to me that the sound world was as close as possible to this colonial environment, because obviously, these women probably didn’t have access to an instrument. His musical landscape was not very rich. But I guess his closest instrument would be the guitar. I wanted the instrument to be quite down to earth, accessible and folky or rural. I think what medium you choose to tell a story is very important, especially when they are based on true events. In this case I thought the orchestration should be very humble.

Sarah Polley said very clearly that music gives us a sense of hope,” Gudnadottir says of United Artists Women Talking.

“Sarah [Polley] It’s very clear that music gives us a sense of hope,” Gudnadottir says of United Artists. Women are talking.

Release of Michael Gibson/022 Orion

For TarWas it easy to compose for a film about a composer, given your background?

I think yes and no. Working on this film was a great process, because what I found so interesting about it is that it’s really a film about the process of creating and writing music and communicating about music to your fellow musicians and students, so it’s not about the finished version. She is excellent at what she does in the film, but she fails, you know. So it wasn’t about succeeding anyway, and I felt no pressure to succeed. I’m really interested in this process because, as someone who has dedicated my life to the process of making music, it’s so much fun to dive deep with these amazing artists.

Do you think the field is expanding for women to have more of these opportunities?

Yes, I feel there is a lot of change happening in this industry. When I started [in my career]When my name came up for projects, it was too much [asked]: “Yes, but can she handle this, because she is a woman?” It wasn’t long ago that people were telling me this even after finishing several projects. But I feel like that machine has gone from skepticism to enthusiasm for female composers. Women are now more invited to start their careers in this industry and I think that’s really great.

The interview has been edited for length and clarity.

This story first appeared in the December stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, Click here to subscribe.

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