Interview: Cody Carpenter Talks Joining His Father to Score Blumhouse’s HALLOWEEN
Jonathan Barkan
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With the release of Blumhouse’s Halloween fast approaching, one of the things we’re all eagerly awaiting to hear on the big screen is a new score from John Carpenter, who is also the executive producer on the film. However, it’s not just Carpenter’s music that we’re going to hear as we’re here to tell you that his son Cody and their music cohort Daniel Davies – who also contributed to Carpenter’s Lost Themes albums – are also heavily involved in the writing and recording process for this film’s soundtrack!
To learn more about it, we went straight to the source and managed to steal a few minutes of Cody’s time so that he could tell us a bit about the score we’re going to hear, how they’re recording it, and what it’s like being part of such a beloved franchise. Check it all out below and don’t forget to read our previous interview with Cody about his latest album Cody Carpenter’s Interdependence!
Halloween comes out October 19, 2018.
Dread Central: What’s it like helping your father score not only one of the most anticipated horror films of the year but also a new entry in one of the most iconic horror franchises ever?
Cody Carpenter: I’m incredibly grateful for the opportunity to work with my dad on the score! I’m really glad that they decided to use my dad, (in addition to myself and Daniel), as composers, as I feel the themes my dad wrote for the original film are inseparable from the franchise. I’ve worked with my dad before on various soundtracks in the past, so working with him isn’t a new experience for me, but it’s exciting to be a part of something that so many people are greatly anticipating.
DC: The technology by which people can write and record music has evolved enormously over the past 40 years. Are you and your father embracing the new digital age for this soundtrack or is there a want to keep things analog as a way to pay homage to the original score?
CC: We’re ’embracing the present while respecting the past’ might be the best way to put it. It’s a synth-based score much like most of my dad’s work, with some familiar sounds and elements from the original film. I don’t want to give too much away, but I think it’s safe to say that we’re using a combination of classic analog elements and modern sensibilities that harken back to the original score, introducing some new ideas along the way.
DC: What’s the writing process been like for Halloween?
CC: My dad uses a very improvised method of composing, but this time around the arrangements have been a major focus for us as well. Having three people – my dad, Daniel, and myself – working on the score together also makes for a slightly different writing process, having to accommodate ideas from everyone. I hope people will be happy with the end result!
DC: What is it like recording with your father again?
CC: It’s always fun recording with my dad. I just go over to his house and we get to work. Very casual!
DC: What have you got in the works for your own musical endeavors that you can tell us about?
CC: I have a couple of projects of my own in the works, including a vocal album and another instrumental prog rock album. I will also be performing backing keyboards for Vince DiCola this September. We’ll be performing his classic themes from Rocky IV and Transformers, it should be fun!
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