How Did The Composer of 'Average Joe' Give the Movie a Genre Identity?

Andrew Morgan Smith, the mastermind behind the captivating score of the hit film Average Joe, is anything but average. His unique blend of grandeur and innovation has struck a chord with audiences worldwide, elevating the film's emotional impact and helping define the genre.

Today, we sit down with Andrew to discuss his creative process, the challenges of scoring a film, and the power of music to tell a story.

Let's dive in.

Editor's note: the following interview is edited for length and clarity.

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No Film School: What are some specific ways in which you aimed to give Average Joe a sonic identity distinct from other films in the genre?

Andrew Morgan Smith: Discovering the sonic identity for Average Joe was a real challenge. It’s a blend of sports movie, Christian film, and drama, so the score had to be just as distinctive, while reflecting elements of each genre. After some experimentation with director Harold Cronk, we settled on a fusion of old-school strings and guitars, complemented by unique synthesizers that added rich pads and textures. The goal was to keep the score engaging without being overbearing.

NFS: In what ways did your experience with horror projects influence your approach to scoring a drama like Average Joe?

Smith: Surprisingly, some of the most effective horror scores are incredibly subtle. Scores like Jerry Goldsmith’s Alien or Ennio Morricone’s The Thing build tension through texture and nuance, relying on restraint rather than bombast. Learning when to pull back is a skill that comes with experience, especially in horror scoring.

For Average Joe, we aimed to avoid being too heavy-handed. In many scenes, we leaned on textures and pads instead of traditional melodies. The Lyra 8 synthesizer was particularly helpful, creating tension without pushing the film into outright horror territory.

NFS: Can you describe the process of using modular effects and synthesizers in the context of this film? What unique textures did they bring to the score?

Smith: he two standout synths in the Average Joe score were the Moog Subharmonicon and the SOMA Lyra-8. I often used the Subharmonicon to create dynamic movements and textures that matched the key of the piece. These pads would either underscore scenes, accentuate specific moments, or serve as transitions between ideas.

The Lyra-8 excelled in scenes needing tension, producing everything from simmering pads and deep bass synths to piercing high tones. Both instruments provided inspiration for new directions or enhanced cues in unique and engaging ways.

NFS:Can you discuss any moments in the film where you felt the score particularly enhanced the emotional or dramatic impact of the scenes?

Smith: There are key moments in the film that really stand out to me, especially the parallels in Joe’s life. He had a troubled childhood that eventually led him to join the military. During boot camp, his drill sergeant used adversity to unify the unit. Later in life, Joe applies the same approach to bring together his football team of troubled kids. The score for these moments needed to reflect that connection, building toward a powerful payoff when the team finally unites.

Another standout moment is when Joe is brought to a boys’ home, and after being provoked by another kid, he snaps. All the tension, anger, and energy we’ve built up to that point in the film comes to a head, and the score intensifies to give the audience a glimpse into Joe’s mental state as he loses control.

NFS: What future projects or themes are you excited about exploring in your compositions?

Smith: I'm excited about a couple of upcoming projects. One is Star Forest, a children's project I've been deeply involved with. I produced their latest album and handled much of the audio and music for their animations. I'm also looking forward to the release of Route 187, a four-episode series I scored, which should be available for streaming later this fall.

NFS: Anything else you would like to add about your recent work?

Smith: Recently, I’ve been scoring more intimate, personal stories, and I’ve really enjoyed the process. Helping bring these narratives to life and giving them a unique voice has been both fun and rewarding. It always feels like a creative puzzle, working with the director or producer to find the perfect musical expression for each project.