0
Film composer Elliott Wheeler has talked about how everyone involved in filming The Great Gatsby came together to recreate one of the fictional aristocrat’s infamous parties after the US premiere.
Purple Revolver caught up with Sydney-based Elliott, a major figure behind the soundtrack for Baz Lurhmann’s highly anticipated adaptation of F. Scott Fitzerald’s famous novel.
Elliott collaborated on material with all of the film’s artists, among which were the likes of Jay Z, Lana Del Ray and Jack White, as well as providing original additional music for the film.
Your music is very distinctive, how would describe your sound?
“Cinematic Orchestra meets Morricone via Portishead, how’s that?”
That’s pretty specific! You also describe your sound as having a ‘cinematic feel’?
“Yeah the work I’ve been doing for 15 years is for music and film. I think in terms of narrative when I’m writing music, about orchestral sounds. I love that quality of music.”
You’ve recently worked on The Great Gatsby, what was your role on the film?
“I was responsible for arranging and production on the strings from songs that came from other artists like Jay Z.
“I needed to work these contemporary songs into what was being told on screen. I took them and was able to weave them into 1920s arrangements. There was also an amazing and original score by Craig Armstrong to work with too.”
Who did you get to work with? Do you have any your highlights?
“One of the highlights for me was working with Bryan Ferry’s jazz orchestra over here. They were absolutely amazing musicians who specialise in that era. It was the perfect marriage of the two for the film. We created amazing 1920s versions of songs for the film, and some of Bryan’s own songs are featured, there is an amazing version of Love is a Drug. They were incredible to work with, the music particular feel and it just comes to life.”
What was your inspiration when writing for The Great Gatsby?
“I didn’t have to look too far at all, I just concentrated on telling the story more than anything and make sure the music was fulfilling the narrative role. Kanye and Jay Z sounded amazing already, so it was a case of adding stuff but not taking away from the piece. It kind of meant me just getting out of the way.”
We’ve seen the Gatsby party in America following the US premiere, were you there?
“I got to go to that, it was off the hook. It was amazingly decadent as you’d expect. The ballroom at the Plaza Hotel, where the final scene of the book was set, was transformed into a Gatsby mansion party. There was champagne fountains, flapper girls from the film in costume performing, Andrea Martin performed, it was incredible.”
You have a new album out this month, what’s the basis for it?
“The basis for the album was that I chose my favourite scenes from films of the 60s and 70s as a starting point for inspiration and took it from there.”
How does your album compare to the Gatsby soundtrack?
“There are a lot of parallels between mine and the Gatsby music, the feel of the two are both a go-between an orchestric feel and then different artists. I brought in five or six different singers on my album so in that regard it was a similar process. They’re both very cinematic.”
You’ve just announced your first single from the album is Baker Man and released the video. Who came up with the hand-made undersea concept?
“I asked my friend Marieka Walsh who worked on The Hunter, and she came back with this other narrative which I didn’t think of and it fitted perfectly with the music. It was a painstakingly long process and she’d come to me and say “I got through two seconds today!”. It definitely took her longer than she anticipated but you can really see the love that she put into it.”
The Great Gatsby is released in UK cinemas today. Elliott’s album The Long Time available at elliottwheeler.bandcamp.com