about the challenges of getting inside a hyena’s head, the delight of writing for baboon babies and “walking a tightrope” to get the tone right. John Downer’s been making programs for 35 years, and about 20 years ago I started doing bits and pieces with him. He was very minimal and wanted the animals [and] the reality to be totally dominant. It was quite good because I didn’t really like music and wildlife at that point. I thought it was gilding the lily.
Sometimes it's great to lay back a bit, because otherwise you’re duplicating what everyone's already seeing. I'm a big [Ennio] Morricone fan and some of his tensest scenes were just a bass drum doing a beat every few seconds and you just think, “Well that's brilliant because that’s all you do need.” There are masters who have gone before that one’s inspired by, and that’s certainly a lesson that he and many other great film composers can teach.
The baboons are just so human. There’s a social pecking order and the fact that if you’re not with the chief you don’t get to eat the best food… So incredibly like a mirror to human society. It made me think of ‘70s cop shows, that rough and tumble of being streetwise. There’s a language there that goes throughto more modern things. It was lovely to play with those references for the baboons. The hyenas are so unpleasant.
There are several instances where you bring in traditional African instrumentation. How important was that to you, since this was shot in Tanzania.
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