‘Behemoth!’: Why Tony Gilroy Needed Nine Composers to Score His Latest Film, and a Guide to Who Did What in the Film (EXCLUSIVE)

Tony Gilroy’s latest film, “Behemoth!,” which premiered at the New York Film Festival on November 3, presents an innovative approach to film scoring by incorporating the talents of nine distinct composers. This multifaceted soundtrack strategy reflects the film’s intricate narrative centered on music and the life of a cellist returning to Los Angeles after a prolonged career on the road.

Set against the backdrop of Hollywood and the classical music world, “Behemoth!” stars Pedro Pascal as Alex, a cellist whose deep musical heritage spans generations. Music is integral to the storytelling, with Alex’s performances serving as gateways to flashbacks that illuminate his past choices and motivations for coming back to the city. This thematic use of music demanded varied musical voices, prompting Gilroy to enlist a collective of composers, each contributing to fictional film projects within the story.

Gilroy’s decision to involve multiple composers rather than a singular musical voice allowed for an authentic representation of the diverse cinematic worlds depicted in the film. The group, dubbed the Behemoth Collective, includes acclaimed names such as Michael Abels, Emily Bear, Lukas Frank, Michael Giacchino, James Newton Howard, Henry Jackman, Nami Melumad, Brandon Roberts, and Alan Silvestri. Their contributions range from solo cello pieces to orchestral scores and jazz-inflected themes, each tailored to the unique fictional projects Alex encounters.

Michael Abels composed the cello practice sequences that transition into flashbacks of Alex’s early performances, providing a warm, intimate sonic foundation. Emily Bear crafted the romantic themes for one of the film’s internal stories, drawing inspiration from 1960s European film scores, blending lush strings with jazz harmonics to evoke complex emotional layers.

Lukas Frank composed the original song “Your God Is Sleeping” and the recurring “Serian Suite,” which underscores Alex’s personal journey. His work notably features the prepared piano, creating distinctive tonal textures that open and weave through the film’s narrative.

Michael Giacchino contributed a period-style orchestral score for the fictional cartoon “Happy & Slappy,” adding a playful, animated energy that contrasts with dramatic scenes. Henry Jackman scored the thriller-themed “Spies Don’t Run,” infusing it with Middle Eastern motifs and heavy percussion to emulate a tense espionage atmosphere.

Nami Melumad was responsible for the emotionally charged cues in “Tolerance Hill,” a period piece within the film. She utilized the harp, an instrument tied to Alex’s family history, to evoke nostalgia and melancholy. James Newton Howard composed the film’s concluding emotional sequences, focusing on solo piano arrangements that underscore pivotal moments of reflection and resolution.

Brandon Roberts provided a jazz-inflected theme for “Look Away Jones,” a fictional television show within the film, drawing from classic era network themes to create an authentic period sound. His collaboration with renowned musicians enriched the texture and authenticity of the piece. Alan Silvestri composed for “Open World,” a fictional blockbuster featured in the film’s narrative, delivering a grand orchestral score that underscores a climactic sequence with high stakes and adventurous energy.

Gilroy’s vision for “Behemoth!” was deeply influenced by his experiences at the iconic John Williams Scoring Stage, where the palpable history and creativity inspired him to explore the unseen world of film scoring. By giving each fictional film its own musical identity, Gilroy not only paid homage to the art of composition but also enriched the film’s storytelling layers.

The collaborative nature of this project, with each composer crafting music aligned with distinct fictional backstories, highlights a novel approach to cinematic scoring. This method emphasizes the narrative potential of music as a character itself, reflecting the emotional and thematic shifts within the film.

While “Behemoth!” arrives in theaters on December 4, its debut at Lincoln Center’s Tully Hall provided an apt venue to celebrate its musical core. The film stands as a testament to the power of diverse musical voices working in harmony to enhance cinematic storytelling, marking a notable moment in the intersection of film direction and musical composition.