Interview: Composer Joseph Shirley Talks Creed III and The Mandalorian

Interview: Composer Joseph Shirley Talks Creed III and The Mandalorian

ComingSoon had the opportunity to speak with composer Joseph Shirley about his work on Creed III and The Mandalorian Season 3. Shirley spoke at length about working alongside director Michael B. Jordan, the difficulties that come with a franchise, and what it was like following in the footsteps of composer Ludwig Göransson. ComingSoon: I’m so hyped for Creed III – I love the Rocky/Creed franchise – clearly the name alone is a draw, but were there other factors that drew you to this project? Joseph Shirley: I’m hyped too! It’s funny – you spend months and months experimenting, working out...

ComingSoon had the opportunity to speak with composer Joseph Shirley about his work on Creed III and The Mandalorian Season 3. Shirley spoke at length about working alongside director Michael B. Jordan, the difficulties that come with a franchise, and what it was like following in the footsteps of composer Ludwig Göransson. ComingSoon: I’m so hyped for Creed III – I love the Rocky/Creed franchise – clearly the name alone is a draw, but were there other factors that drew you to this project? Joseph Shirley: I’m hyped too! It’s funny – you spend months and months experimenting, working out the music on a project, and collaborating with its director. Yet, when the movie FINALLY comes out, it takes on a totally different form and feels fresh again – because it finally becomes real, and you’re able to learn from what resonated with its audiences.   What drew me to this movie was my passion to this franchise in working under Ludwig for the first two Creed movies, and also my childhood obsession with Rocky IV. The stakes, the score, the bad blood between Rocky and Drago. That movie had everything for me as a kid growing up. I remember watching that movie with my brothers in the TV room countless times. This is Michael B. Jordan’s directorial debut, what was he like as a director — how did he approach the musical aspect of the film?  Michael was such a joy to work with. He was passionate about every department of this movie, and gave everyone his attention when they needed it. It was astounding to me, the feat of directing a movie and also being its star. Also, his vision for some of these scenes felt so new for the franchise, creative and ambitious. I had the privilege to spend almost every Friday morning with him for months, here at my studio reviewing my music. We had some late nights as well – one in particular was a vocal session I had with a phenomenal singer, Maiya Sykes, for the final fight sequence which we called “The Void”. Mike and I conducted Maiya through the glass of the vocal booth, while she watched the sequence and riffed over it. It was thrilling for both of us to kind of play in the sandbox together like that. Mike was really devoted to the process too. Oftentimes, I felt like he was giving me feedback, as if I were one of his actors on the set with him, and we’d be crafting the emotion of the music together live in real-time. It was amazing to feel that close to the story with him. You’re tackling a franchise that’s been around since the late 70s — which is crazy! — was it difficult to find a new way to tackle the score? Did you feel compelled to add your own voice or was your goal to recreate/expand upon the previously established themes? For me, it was important to help tell THIS story, and to try my best to not get caught up in the pressure I put on myself as it related to the legacy of the franchise. Mike and I gravitated towards the emotional through line of the story, and so I think our score has a bit more of a subtle gravitas and darker emotional texture as compared to what Ludwig so brilliantly wrote for C1 and C2, as well as the iconic Bill Conti themes. But, there were definitely times he and I wanted to “go for it” and really lean into that heroic and lush orchestral sound that this franchise has become known for.   In certain key areas of the movie, I wanted to honor the musical legacy of this franchise, but at the same time, help tell OUR story which deviates from that formula in a lot of interesting ways. Dame and Adonis in particular needed a new texture musically, one that felt more personal and intimate, but also kind of suspicious in tone. What was the most challenging aspect of Creed III and how did you overcome it? The most challenging aspect for me was following Ludwig, whose music many people have adored for years, and...