Mars (Dead House Music)
It can certainly be stated, without hesitation, that for almost every truly classic horror film, an equally classic music score has accompanied it (F. W. Murnau’s Nosferatu is an obvious exception). Halloween had the John Carpenter score. Hitchcock’s Psycho had Bernard Herrmann’s frightening string score. The British Hammer horrors of the 1950s, ’60s, and ’70s owed their musical feel to composer James Bernard. More recently, we’ve seen the work of such masters as the late Jerry Goldsmith (The Omen and Alien movies) and Christopher Young (Hellraiser, The Grudge).
But what do you do when you’re an independent horror movie writer or director, and you’re not the next John Carpenter? And on a smaller budget, you simply can’t afford to have a Christopher Young or Tyler Bates (The Devil’s Rejects, Dawn of the Dead) score your film.
The good news is indie horror directors do have options—and Mars from Dead House Music is definitely one of them. In less than two years Mars has already scored two full-length feature films (including work with director Scott Goldberg) and over a dozen shorter movies, videos, voice-overs, and other projects. In fact, the two feature films went to Cannes and were picked up for distribution, which may mean further exposure for this one-man horror music machine.
But Mars isn’t simply a talented composer. He is as enthusiastic about horror—and about creating unique compositions for these films—as anyone you would expect to meet in this fairly tight knit community. Simply put, horror is his life, and he loves every minute of it.
Somehow, Mars took some time from his very busy schedule to talk to Dread Central about everything in the world of Dead House Music — from his extensive musical background to the many projects he’s already worked on and what he feels he can accomplish for a burgeoning horror director who needs a great score to make his or her movie complete.
Dave Manack: Your career as a horror score composer (Dead House Music) started very recently (2005, to be exact); yet, you seem to have produced a great deal of work in a short period of time. How have you been able to get the word out about Dead House Music so quickly to the point that you already have several movie scores to your credit?
Mars: I truly believe that life is a journey that unfolds in a manner that gives you the tools to deal with just what lies over the horizon and not much more. As you pass each hurdle, you add a new skill to your abilities. If you’ve worked hard and amassed the right skills, then you’re ready when opportunities present themselves. I spent years out on the road and logging hours in studios getting my musical chops in order. So when Dead House became a reality, I was like a caged animal just waiting to pounce. The amount I’ve done in this year and a half is directly proportional to how hard I work promoting Dead House Music every day. I was also very fortunate that the awesome Rue Morgue magazine believed in me very early in my career and did a feature interview with me. I owe them big-time for all the opportunities that article made possible for me.
DM: Do you have an estimate of the amount of movies/short films that you have scored so far? What are some of the newest scores you are/will be working on?
MARS: I’m always looking to ally Dead House Music (DHM) with ambitious upcoming talent as well as more experienced veterans of the genre. As for new projects I’ll be working on:
I’ll be doing all the DVD menu music for Lurker Films’ “Weird Tales” Volume 4 of the H. P. Lovecraft collection and the re-release of their Edgar Allan Poe collection (review) as well. Anyone who knows me knows how much of a Lovecraft fan I am, so this is a project I’m really excited about.
I will score genre legend Brinke Stevens’ new film for TDA Entertainment, The Two Sisters. I’m excited because the director, Terri Dawn Arnold, is a musician herself, and we will be collaborating on the score.
I am also due to work on upcoming DVD and Internet releases for adult film masters House Of Gord. The company specializes in fetish/bondage, demonstrating a level of artistry that you must see to believe. Horror/Erotica is making a huge crossover these days.
And I’ll be scoring the upcoming feature film The Forest Hills for my pal Scott Goldberg. He is a brilliant young filmmaker out of New York.
DM: From what I’ve read, you have an extensive musical background, and it certainly shows in the variety of styles you are able to implement in your compositions. Tell us a bit about your experiences as a musician, the different styles you’ve played, the tours you were a part of, and how these experiences add to your versatility as a composer.
MARS: At the risk of sounding insane, I will say that music is as vital to me as oxygen. It really is that simple. Nothing else in this world has been there for me through all the ups and downs like music. The demands and sacrifices to gain proficiency are many, but the rewards that music pays back are so much more.
For as long as I’ve been able to play an instrument, I’ve known what I wanted to do with my life. To entertain people and express myself through music has been a path that has taken many forms: metal bands, Goth bands, jazz bands, symphony orchestras, and pretty much everything in between. I’ve been fortunate in that I love many diverse styles of music so I’ve played in many different musical situations. Sadly, the industry is filled with hacks that get a keyboard and think, “Awesome, I’m a composer now!” Bullshit! They can sequence, but they can’t friggin’ play a note. When I ‘m on a project, I’m bringing actual musical skill to the table. It sounds arrogant; but sadly, talent seems less and less important these days.
DM: I enjoyed the clip of Nosferatu (your re-scored version); I think your music is very appropriate for the movie. What made you decide to do this—i.e., add music to a classic silent film—and how do you feel your score has added to the mood and feel of Nosferatu?
MARS: I looked at it as a challenge because there is simply so much music required as compared to a modern film, and I felt I wanted to do something that would tie myself to the composers of earlier times. In a way I feel strangely out of place sometimes in today’s scene. I rarely write music on a keyboard as I prefer to see it in my head. A dying art I’m afraid.
As a child I saw all the classic horror films on late night television, and I was hooked. My parents never had a problem with what I chose to watch so long as I understood the “art” of it all. When I was 15 I saw Nosferatu for the first time, and I was blown away. “Artistic” is simply an understatement. The whole film is filled with images that are so iconic in horror. Deep shadows, rusty gates, and crumbling buildings fill the frame. F. W. Murnau pioneered a mythic, visual dialogue in this film that is still influencing modern filmmaking today. Re-scoring Nosferatu was a labor of love for me, and I am very pleased with the end result. The film is almost 100 years old, and it has endured the test of time. It is a story of good vs. evil, a dark fairy tale. Most of all, it is a brilliant work of art.
DM: How do you approach a horror score composition? Do writers present you with their own ideas, or do they simply tell you what the story is about and give you room to work?
MARS: It can go either way. When I get my mental palette of sounds together, I begin to score in my head. I tend to write that way first, and then I record what I’m hearing in my mind. I’ve been given free reign to do as I want with past films (though there were certain guidelines that the producer wanted me to adhere to), and I’ve worked with directors who have a very clear idea of what they do and don’t want. Either way is fine with me though to minimize re-dos, I do try to get several serious sessions of discussion in with the filmmakers before I start. We talk about other films and other music and just get our bases established. This really can cut down on the amount of misunderstandings down the road.
DM: If someone is reading this and they’re interested in having you work on a score for their movie or short film, what sort of information do you need from them?
MARS: Making contact is step #1. I can be reached at this e-mail or this e-mail, and the office phone is (530) 823-2666. I do like to see a script or at least a treatment. I tend to read them like a cinematographer or production designer might, looking for scenes where I know music will be really adding to the atmosphere. Long hallways, slow pans, close-ups—all that stuff can influence me in the planning stage.
I am more than willing to work with new talent, so feel free to contact me. A strong story and a positive attitude are often more impressive to me than a big list of credits. No one knows where the next exciting idea in horror is going to come from so I think that it’s always smart to keep on the lookout for new talent. That is one of the best things about this genre; time and time again a young filmmaker will come along and just blow people’s minds with a fresh perspective. That is very exciting to me.
DM: I noticed on your website that you will be speaking at the Eerie Horror Fest. What will you be speaking about?
MARS: My friend Scott Goldberg (of Scott Goldberg Films) and I will be hosting workshops on the craft of indie filmmaking post production. Specifically what it means to be working on small budget, genre films, and how to really get the most effective and powerful results with a limited budget. We will be discussing the tools available to the modern director and composer and how to use the Internet in a way that was simply not possible a decade ago.
DM: What are some of your favorite bands/musicians of all time? What bands/musicians have had the biggest influence on your current musical endeavors?
MARS: That is a list that just keeps growing. Early favorites would include The Beatles, Rush, The Runaways, The Misfits, Bad Brains, Motorhead, Frank Zappa, Peter Gabriel, Black Sabbath, Return To Forever, Dead Can Dance, Siouxsie & The Banshees, Morbid Angel, Portishead…and on and on.
In terms of the music that has influenced my soundtrack writing, I pretty much absorb everything around me on a daily basis, not necessarily other music per se, but things I hear going on around me. I’ve used my cats fighting as a sample before and other strange sounds that happen near my house. Believe it or not, I seldom listen to other scores as it is just too easy for those elements to subconsciously show up when you least expect it. That being said, some of my favorite composers include Rimsky Korsakov, Wagner, and modern era musicians like Bruce Haak, Joseph DeLuca, and Bernard Herman.
DM: Probably the toughest question of all…What are you favorite horror movies of all time and why?
MARS: Again, the list is just mammoth. I’m a HUGE fan of this genre. That is what separates me from many other composers who “dabble” in horror. I eat, sleep, and breathe this stuff. If I had to narrow it down to a top five, it might look something like this:
1) The Wicker Man: My favorite of all time. I’m sure that it is debatable whether it is a horror film in the truest sense, but what this film does so masterfully is combine multiple influences and a time tested narrative. I’ve seen it a hundred times, and I could watch it again tonight!
2) The Exorcist: Still has the power to scare after all these years and is just a brilliant, concise piece of visual storytelling.
3) May: God, I love this film. So subtle and yet visceral at the same time. Essentially it feels like a modern Frankenstein to me. It’s proof that a solid cast and a strong premise will get you through every time. Brilliant.
4) Prince of Darkness: My favorite Carpenter film, bar none. Smart, sly, and a biting social commentary. Not to mention Alice Cooper is in it. How can you go wrong?
5) Deep Red/Opera: (tie) I just can’t decide between the two. But Dario (Argento) was firing on all his twisted cylinders during these films. Everything I love about his style (plot holes and all) is abundant here. Great stuff!
For more information on Mars and Dead House Music, visit their official site or email them here. The site includes several downloadable music samples, clips of Mars’ version of Nosferatu, and much more!
Categorized:Interviews News
