auto-translateRussian composerAnna Drubic received the prestigious film award - BMI Film Music Awards (annual award given by one of the leading author societies of the United States) - for the soundtrack to the film "Scary Stories for The Story in the Dark", which she worked on together with the classic music horror Marco Beltrami ("Scream," "Resident Evil", "The Snowman" and others). Anna Drubic spoke to Boris Barabanov about her first experience working in a large Hollywood studio and how to write music simultaneously for four films in a pandemic.
How do you explain to someone who is far from "visual media", what is BMI and BMI Awards?If I get it right, BMI is an organization that protects rights of American composers, songwriters and so on.
Yes, it's one of the world's largest performing rights organisations. It protects the rights of about a million authors - composers, songwriters and music publishers. BMI collects worldwide royalties for the use of a particular music. Once a year, BMI arranges a ceremony - honoring the authors.It's a rather secular, glamorous event with a red carpet, outfits, dinner - in general, such a small "Oscar". The ceremony is a kind of summing up of the year. The BMI Award is a status indicator, you seem to qualify for the top professional league.I received this award in the category of "Full-length Film", which, of course, is very prestigious.The ceremony itself, as you know, was not this year because of the pandemic, and everyone has somehow forgotten that BMI has to hand something over.And now I sleep in the morning and see on my e-mail congratulations.I was stunned, of course. Despla - in general, coryphaeus.
Are you a member of BMI as a composer?
BMI is not the only such organization, there are four in the United States.Any composer who wants to earn money, at some point should join such an organization - it is impossible to track where your music was used, how much money you can get from movies, TV broadcasts, digital platforms.
Do I understand correctly that the interests of Russian composers usually protect RAO?
I am also a member of RAO, it tracks Russian projects. It is quite normal to be a member of several such organizations.
How did you get into the movie "Scary Stories for a Story in the Dark"? Did it happen with your co-author Marco Beltrami?
Scary stories for storytelling in the dark" is my first picture for a big studio in Hollywood.I am very grateful to Marco Beltrami. In 2012, I studied at the University of Southern California in the Faculty of Film.For us, we were given master classes by famous composers.One day Marco Beltrami came. And then we discussed what happened.A year passed, and one day I happened to run into him in the parking lot and wasn't even sure, she'd know. he asked me hello, and he said, "I remember you, Anna. How do you live, what are you doing?"
"It's not really like that, I've just graduated from university." I certainly didn't attach much importance to this, well, small talk in the parking lot... I went to Moscow, and one day I sit on New Year's Eve in the kitchen, eat something, and suddenly comese-mail from Marco: "Where are you? We're starting a movie." And we started working on the 1864 project.In a way, I was an apprentice, I wasn't in the main credits, only at the end, in the "brother's grave." It's ok, with this starting a lot of composers in Hollywood.and simultaneously did her projects in Russia, including very large, such as "Red Bracelets," "Optimists," "Big," "Garden Ring," "Star," "Odessa."And then one of the other calls Marco and says that he had a conversation with Guillermo del Toro, he needs music for the film Scary Stories to Tell in the Dark, which he produces.Marco didn't have time for this film, but del Toro did not want to refuse.And we agreed that I was writing music, and if del Toro likes it, Marco and I will appear in the credits together. It was incredible luck.
"Scary Stories for a Story in the Dark" - CBS production. work in Russian cinema and work in independent cinema?
I don't think there's any fundamental difference between working in America and work in Russia or work for large studios of the author's cinema.From my earliest experiences, which relate to my father Sergei Solovyov's films On Love, Anna Karenina, 2-AsSA-2 and Classmates, I realized that this is a magical process.Two authors, composers director, discuss metaphysical subject as music, one of them knows how to talk about music, and the other does not speak professional language, but tries to express the thought with the help of those images and feelings that he sees. This applies to all Valery Todorovskiy, Anna Melikyan, Alexey Popogrebsky, Alexey Smirnov are all great artists, and each of them has built unique personal relationships.In America, the same thing is important."Scary Stories to Tell in the Dark" is a great studio movie, but here I worked the same mechanisms as, say, in the author's film in Russia.Everything was based on my relationship with Andre Ovredal, the film's director.And they, thank God, have turned out fine.
Do you know Guillermo del Toro?
He's an outstanding artist and producer, of course. Marco and I were watching the very first director's cut of the film.For me it was already a ready-made, honed movie. Guillermo del Toro after watching made the director a few compliments, and then for seconds told where and what to fix: this plan to cut, this replica to re-voice, here special effect to replace ... And I realized he was absolutely right.I sat and listened to it with my mouth open.
The film turned out to be super-profitable, paid off four times.
No, it was fixed, interest rates get but this picture, of course, opened up new horizons for me. I've got a very cool agent.I felt more on the viewings for focus groups (it's common practice for big film companies before the film is released). I saw how the company listens to the reaction of the audience and is ready to immediately go to re-mount something, finish, invest extra money.Towards the end of the postproduction there were difficult moments, even it seemed that now everything will fall apart.Here the creators of the film need, of course, iron nerves.
You are the first Russian composer to receive this award?
We received this award at the same time as the composer Sonia Belousova, only she was awarded in another category - for the SERIES "Romanovs". Interestingly, in my category "Full-length film" awarded only two women - HildurGudnadottir, who wrote the music for The Joker, and I.As you probably know, I won the Golden Eagle for the film Odessa this year.So, I am the first woman to be awarded for music for cinema by any Russian film award.Not that I care so much about gender equality in film, but this is, in my opinion, an important point.
According to IMDB, you have at least five films this year. How is such productivity possible?
I'm currently working as a composer for four movies, and on all four I'm one. I once had six movies at a time. I'm finishing the music for the second season of "Optimists", plus the SERIES "Bomb" directed by Igor Kopylov, the trilogy Fear Street for the studio Fox and another independent film.I work in a studio, in the basement of a house we rent in L.A.I finish the scene, I send the director, he writes his comments, and so I move on from one project to In a pandemic, it's all particularly "interesting."Where do children go when they don't work at school or kindergarten?But I hope that I will somehow complete all these projects and I will not be ashamed of my work.
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