CRAFT
in Australia with near Beatle-style hysteria. “That was a real joy,” he readily admits. “Much of The Crown’s
score is restrained, so this was a rare opportunity to take the lid off. But as with most of the scenes in the series, if there’s a bright exterior then there’s tension under the surface – a pebble in the shoe – and, in this scene, that was the first flicker of resentment from Charles, which also had to be present in the music.” Looking back, Phipps
notes, the music he is most proud of from
in. “The Crown’s relationship with the source tracks for each era is quite interesting,” he adds. “Peter tends to use them as needle drop tracks, and this gives me space to be more creative with my score.” For The Crown, music is all about contrast and maximum impact, he continues, illustrating this with two examples. The first is when Michael Fagan scales
the walls and drainpipes of Buckingham Palace then wanders aimlessly around the state rooms – a sequence, he admits, that was particularly tough to score. “It needed to have an element of
jeopardy but not be too heavy, with a hint at the farcical situation of an unemployed
painter/decorator trying out the throne for size while making us care for this character and his situation. In other words, it had to be serious and emotional but with a glint in its eye. I think I ended up writing that cue about 15 times!” Phipps says.
PETER (MORGAN) WANTED TO PUSH ME IN A DIRECTION TO MAKE IT LESS A TRADITIONAL TV DRAMA TV SCORE SO THE AUDIENCE WOULD LEAN IN TO TUNE INTO IT
The second is the sequence in which Diana is greeted on arrival for her tour
season four is in episode three. “Diana has woken up on the day of her
wedding and is not in a good way,” he says. “Meanwhile, members of the Royal
Family get dressed for the ceremony as if going to battle. The music needed to convey the fragility of Diana’s mental state, the uncertainty felt by the royals over the impending marriage, and the power of the establishment determined to make this union happen – all at the same time.” It is also a great demonstration of what
The Crown consistently does so well when it comes to music, Phipps concludes: “It all comes down to not using the obvious score or music in order to create a certain tone.”
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