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THE CROWN: A SHIFT IN TONE
THE CROWN S4 NETFLIX LEFT BANK IN AS- SOCIATION WITH SONY PICTURES TELEVISION
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Composer Martin Phipps explains how his score was designed to make the audience lean in rather than sit back and have it wash over them
Composer Martin Phipps’ arrival on The Crown for series three coincided with a shift in approach to the musical score that he continued into season four. “The aim was to strip the music back to its essence to say more with less,” he says. So season four, the Diana and Thatcher years from 1979-1990 are a progression of that journey – as is five, on which Phipps is now working. “Peter (Morgan) wanted to push me in
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a direction to make it less a traditional TV drama TV score so the audience would lean in to tune into it rather than sit back and let the music simply come and wash over them,” Phipps explains. “The aim was that when the music does come, there is a real shift in tone.” As a rule, he continues, he composes
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to an emotion or theme in a drama – though sometimes, a theme is inspired by a particular character: “Peter talked to me about the suppressed – or coiled – power
underpinning the action and the forces of the establishment, and both were a powerful starting point.”
PETER TALKED TO ME ABOUT THE SUPPRESSED POWER UNDERPINNING THE ACTION AND THE FORCES OF THE ESTABLISHMENT
Season four evolved this approach
further, though the arrival of Diana marked a significant shift in tone because of the idea of modernity challenging the old guard that she represented. “For Diana, I introduced a brightness and brassiness to the score,” he recalls. “And, I confess, I couldn’t resist the electronic synth that is the classic Eighties sound.” When composing for TV, Phipps reveals,
he tries to avoid an over-reliance on music- of-the-era cues for fear of being hemmed
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