Composer Jordan Seigel bridges the gap between Hollywood's biggest blockbusters and the intimate world of indie film. He's taken on massive projects like Snow White and Ant-Man and the Wasp, but his roots are firmly planted in the world of jazz piano.
His latest score for the Duplass brothers' film, The Baltimorons, provided the perfect opportunity to merge those two worlds.
We sat down with Seigel to discuss his collaboration with director Jay Duplass, the "heart of darkness" note that reshaped a key cue, and how he balances his composing work with orchestrating for artists like Hozier and Common.
Let's dive in.
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NFS: Hi Jordan! How has your experience on high-profile projects like Snow White and Ant-Man and the Wasp prepared you for indie fare like The Baltimorons?
Jordan Seigel: Working as an orchestrator on high-profile projects like Snow White and Ant-Man and the Wasp taught me how to develop highly efficient workflows and plan live recording sessions meticulously—experience that’s been invaluable on indie projects. On The Baltimorons, I had less than three weeks to deliver a full score, including writing, mockups, approvals, live recordings, and the final mix. That tight timeline forced me to focus on the creative process and trust my instincts, knowing any setback could jeopardize delivery. I approach every project—regardless of scale or budget—with the same level of commitment and discipline.
NFS: Your background as a jazz pianist is clearly essential to the jazzy tone of the score. Can you tell us more about your jazz training and how it is reflected in this project?
JS: Before I became interested in composition and orchestration for films, I focused primarily on jazz piano. I started playing piano at age five, but my real passion for jazz began in high school, where I spent hours transcribing and emulating the greats—Oscar Peterson, Herbie Hancock, Brad Mehldau, and many others.
I first became interested in film music in college and spent several years exploring how to bring my jazz background into this new context. As I experimented, I began to see how my jazz training could inform my compositions in subtle but meaningful ways. Studying John Williams’s scores reinforced this insight, showing how his jazz background strongly shaped his music.
The Baltimorons was a unique opportunity to lean fully into jazz. I built the score around my jazz piano trio and had an incredible time composing in a style that is deeply rooted in my musical foundation, blending my film music sensibilities with the idioms of jazz.
NFS: What was it like working with the Duplass brothers, particularly director Jay Duplass?
JS: Working with Jay and Mark Duplass was fantastic — I’ve been a fan of their work for a long time, so it was really exciting to collaborate with them. Jay is an incredible director and an especially good communicator.
We did our spotting session virtually — this is where the composer and director watch the film together and discuss where the music should go and how it should function. Jay was always respectful and trusting of my musical instincts. We would discuss each scene with the same goal: how the music could best serve the picture.
Jay knows the film better than anyone — every choice, every character motivation. Often, he shared insights I hadn’t considered, and he was always completely open to ideas I suggested.
There was one cue that I actually re-wrote after the film premiered at South by Southwest. It was a cue that I had done one version of, and Jay had initially approved. After the screening, Jay reached out and asked if I’d do another version of the cue. I, of course, was happy to, and we discussed what the scene needed. Jay said, “We need to feel like Cliff (our main character) is headed into the heart of darkness.”
This was extremely insightful for me, as the scene is all shots of his car driving through the streets of Baltimore. With this extra context, I sent a new version, which Jay loved, and we recorded it for the final release.
Jordan Seigel Credit: Impact24
NFS: What made jazz the appropriate vehicle for your musical storytelling with this score?
JS: Jazz felt like the perfect vehicle for this score because of its timeless quality. The film takes place at Christmas, and we wanted it to evoke the feeling of a real-life Charlie Brown adventure. One of my favorite projects has been the Apple TV+ Peanuts series and specials, where I served as pianist for Jeff Morrow’s score and contributed additional music and orchestration. That work, heavily influenced by Vince Guaraldi, helped me become very comfortable with his unique style. For The Baltimorons, I wanted to capture that Guaraldi-esque spirit while still maintaining my own musical voice, blending nostalgia with fresh storytelling.
NFS: I am fascinated by your collaborations with artists such as Hozier and Common. Can you tell us more about those experiences?
JS: I love working across different genres, and orchestrating or arranging for various artists is always rewarding. I did some orchestral arrangements for a concert Common did many years ago, and he still performs them from time to time. Many of his songs don’t originally feature orchestral elements, so it’s creatively fulfilling to reimagine them with a full ensemble.
I’ve worked as an orchestrator on a number of tracks for Hozier, as well as acclaimed producer Bekon. It can be a bit different than a typical film scoring session, as sometimes we are experimenting with the sonic nature of the ensemble a bit more. Perhaps the producer wants to use some specific effects on one element, or we want to take the time to explore different approaches for how the strings might play a figure during the chorus. It’s always exciting to push the boundaries of how orchestral instruments can complement contemporary music.
NFS: The Baltimorons is a clever entry in the "unconventional romance" genre. How did you aim to capture the unique nature of the film's central romance through your score?
JS: One of the most charming elements of the film is that Cliff and Didi’s relationship unfolds more like an adventure than a traditional romance for much of the story. Using a jazz combo for the score helps maintain that sense of unpredictability, keeping the audience from feeling like they know exactly where the relationship is headed.
There’s a pivotal scene where the characters dance to “Someone to Watch Over Me.” When I first watched the film, Jay had included a version of the classic Gershwin song, which was perfect in concept but didn’t fully match the arc of the scene. I asked if he’d be open to letting me create an arrangement that closely followed the moment’s emotional journey. He put a lot of trust in me, as I did a chart and we recorded it in the studio without Jay ever hearing a mockup. He heard it for the first time at the dub and was so appreciative of the new arrangement, which was incredibly rewarding.
NFS: Is there anything else you would like to add about The Baltimorons or any other upcoming projects?
JS: The Baltimorons was truly a dream project — an incredible opportunity to compose in a style I’m passionate about, work with my jazz trio, and collaborate with my wife, Natsuki Sugiyama, on saxophone. I feel very fortunate to have worked with these musicians on nearly every project I’ve done over the past decade. In fact, I have a residency with the trio and guitarist Graham Dechter at The Baked Potato in Studio City — we play the first Monday of every month.
I also have a few upcoming projects I’m really excited about. One is an HBO documentary about Mel Brooks, directed by Judd Apatow. I was brought on as lead orchestrator and arranger, which involved recreating and arranging many cues and themes from some of my favorite Mel Brooks films. Growing up watching those films, it was an absolute blast to record those iconic themes.
I’m always drawn to projects that challenge me creatively or let me explore new approaches to storytelling through music. Whether as a composer, orchestrator, or pianist, the most rewarding work for me is collaborating closely with musicians and directors to create a score that feels fresh and authentic.
