“Keeping The Score”
Philip Giffin - “Boomtown” NBC
“I was approached by Graham Yost (the show’s creator
and executive producer). I’m really fortunate that he
happened to have an affinity forr my music. I’m not like
this right-wing guy – in fact, I consider myself very
liberal – but i have this deep and profound respect for
policemen because they’re here to help us.
Graham was taken about how I took to the pilot. I get very emotional
and teary-eyed when I see on the news about one individual risking
their life for a stranger; that’s what cops do every day.
“(The score) was a team effort. I tried to get inside
Graham’s head, and he wasn’t really sure musically,
(but) he told me to rent (1958’s) THE BIG COUNTRY with
Gregory Peck and Burl Ives - your classic western. I’m
so in love with westerns – my favorite book of all time
is “Lonesome Dove.”
I do, I incorporate odd meters. Most songs in Western music
are either three-four or four-four time, but ever since I was
a kid, I’ve been fascinated with odd times. i just feel
them, like fives, sevens, nines or elevens. I kind of superimpose
these odd meters on top of standard meters, and it creates a
web or tapestry.
The main title sounds like an epic western but with an urban
twist. I was trying to think how I could make this different
from all the other cop shows. I add voices, which subliminally
imply angels – that haunting “City Of Angels”
quality. I used an acoustic guitar playing lead along wth a
baritone guitar, which was used in the main title for BONANZA.
I work very closely with Jon Avnet (one of the show’s
directors). He likes many different versions. He wants you to
dig deeper, which is dificult, but he’s like a coach that
you really want to please, and work hard for. His #1 composer
was Thomas Newman, so i was like, “God, I’ve got
some shoes to fill.” I knew my only hope was to be myself.
“If I imitated someone else, I wouldn’t make it.