Ludwig Göransson never imagined to make a film About a Blues guitar player, let alone with a vintage resonate official. But that was what happened when the Oscar-winning Swedish composer had to stir up blues for Ryan Coogler’s “Sinner,” The genre-bending vampire film sat in the Mississippi Delta in 1932.
“I grew up with blues around me,” Göransson told IndieWire. “My dad is a blues guitar player who put a guitar in my hands when I was sex and actually wanted to name me Albert after the big Albert King. So this met near the home.”
It also met with Coogler, who has family roots in Mississippi and who wanted to explore the cultural importance of blues and its supernatural mythology. Inspired by Legend of Blues guitarist Robert Johnson, who sells his soul to the devil for musical genius, Coogler offers a new spin with the young blues man Sammie Moore (newcomer Miles Caton) which attracts both good and evil spirits with his electrifying debut on a juke, drive in CLARKE. and stack (Michael Michael).
To make the music feel authentic for the time, Göransson went on a Blues tour from Memphis to Clarksdale with Coogler, members of the music team and his father, who came out of Sweden. They conducted research and made contacts with blues musicians. “I think what was so interesting about Ryan’s concept about this music is that when you hear it today on the old recordings, it sounds like dog shit,” Göransson said. But it was not old men sang at that time. They were young guys. They were dangerous. Their music was wild. It was “The Devil’s Music.” If you listen to this music, you are bound with the devil. “
On “Sinners,“ Göransson Contributed Both do And songs in rolling this devilish sense of mystery and danger. The film opens, fittingly, with “Playin ‘Games, Tellin’ Ghost Stories” and off-screen sound by Sammie that tunes his guitar. This occurs under a prologue where a narrator describes the relationship between the blues and the spirit world. “I thought this was an interesting way to start things,” he said. “The point is very much in line with the story. Everything is kind of acoustic, up to the extent of the film changes and we are in this different world.”
In clues like “Clarksdale Love”, the guitar withdraws with deep suffering and spiritual transcendence. But Canton needed to find the right sliding guitar for Sammie, one with a resonator specific to the era, at the request of Coogler. This did the guitar lover before the amplifier. So Göransson did some surveys and found a Dobro Cyclops from 1932 in LA. He needed two more about one broke, and he located them in Nashville and London. This was the hero guitar, who took Caton three months to master.
Göransson created the full point at Dobro, as well as Sammie’s decisive song: “I Lied to You” (in collaboration with Grammy winning songwriter Raphael Saadiq). The kid performs this touching confessional by being liberated by Blues at The Juke, which is transformed into another world dimension, where he is united by multicultural musicians and dancers from the past and the future. Together, they perform Göransson’s “Magic What We Do (Surreal Montage)”, a whirlwind that shows the development of blues and its cultural significance today.
The life of life was managed on a single day as a Oneer with the help of 65-pound IMAX camera on a steadicamWho winds around Juke in three sections. “After my songwriting with Saadiq, we had the base in what this surreal montage would be,” Göransson added. “And then it was a matter of: How should you make it happen? Because I read the script, I had goose goats. I had never even thought about that idea. But it could only be done because we were on a set, lived in New Orleans. map it. And then I had a rough video of taking, and I wrote music to record that video, every department that worked together. And then I had a rough video of taking, and I wrote music to record on stage, every department that worked together, I had a rough video Video of taking, and I wrote music to record on stage, every department that worked together, mapped it. And then I had a rough video of taking, and I wrote music to record that video.
Coogler knew exactly what cultural representations and musical styles he wanted in the stage “Surreal Montage”. “You had small pieces of musical stories that came to you, depending on where the camera is, and it happened everything live in the moment we created it,” Göransson said.
The scene contains an African Griot who plays a precursor to Banjo, a guitarist in the 70s with a Jimi Hendrix influence (legendary blues guitarist Eric Gales), a DJ at a table that makes an 80s shop, some West Coast R&B, an African drum, a Chinese dance, a Chinese dance, a Chinese dance, a Chinese dance, a Chinese dance, a Chinese dance, a Chinese dance, a Chinese dance, a Chinese dance, a Chinese dance, a Chinese dance, a Chinese dance, a Chinese dance, a Chinese dance, a Chinese dance, a Chinese dance, a Chinese dance, a Chinese Dance African African dancer.
“The tricky part was how we would make everything feel seamless,” Göransson added. “You create solos in those styles from this music and bind everything together with Mile’s song on it. We even recreated an original drum machine stroke that became the beginning of hip hop.
“And then, in the post, with the mix,” he continued, “we could really play with (dolby) atmos of the music boiler around you. It also used a lot of modern technology.”
The mixture of technology and history is what makes Göransson, Coogler and the entire “sinner” team can extend the assembly music over space and time. This makes Göransson’s work as powerful supernatural as everything else in the film.
“Sins” is now in theaters.
