It was a true pleasure to be part of the panel on Composing for Natural History at PRS Members’ Day in Bristol (17th October 2024), where I had the privilege of sharing the stage with composers Anne Nikitin & Claire Batchelor, and music executives Nichola Dowers & Nick Baxter from BBC Music. The discussion took place during Wild Screen Bristol, the world’s largest wildlife and TV storytelling conference, making it an incredibly exciting and insightful experience.
We had an engaging discussion about the differences between composing for TV drama and natural history. One of the key distinctions we explored is the longer and more unpredictable timelines in natural history production. Development phases and shoot durations can stretch out significantly, and often, they shift in unexpected ways, which can present unique challenges for composers.
Another key difference I often encounter in scoring for natural history is that the music has to work much harder to support the narrative. What do I mean by that? Take, for example, my recent work on Meerkat Manor for AMC+. In one sequence towards the end of an episode, a family of meerkats embarks on a dangerous journey to find a new home. The music had to convey a sense of jeopardy, excitement, tension, and pace, adapting to every twist and turn in the montage. Then, when they finally found a home, the mood had to shift to something more positive—but not overly joyful, as there was still the looming threat of danger.
As the episode concluded, the music had to leave the audience with a sense of uncertainty: How would this new home really work out for them? It’s a delicate balance, making sure the music enhances the story without overshadowing the visuals….but at the same time hitting all those moments and gear changes.
In scripted drama, my preferred musical approach is often less is more. Sometimes, the music isn’t just underscoring the story or visuals but can actually be saying something different—adding a layer of complexity or tension that wouldn’t be there if the music simply mirrored the action. I find this approach can be far more compelling, as it creates a deeper emotional resonance or an intriguing contrast, allowing the audience to feel something more nuanced beneath the surface of the narrative.
The panel took place during the Bristol Wildscreen TV Festival, which is held every two years, and this year I had the chance to attend. I spent the week immersing myself in the event, connecting with producers, attending insightful panels, and networking with industry professionals. It was an inspiring opportunity to dive deeper into the world of wildlife filmmaking and storytelling.