Anže Rozman and Kara Talve are two exceptional composers who have made a profound impact on the world of film and television scoring. With a shared passion for music and an unwavering dedication to their craft, Rozman and Talve have collaborated on numerous projects, including the critically acclaimed Apple TV+ series Prehistoric Planet.
Over email, No Film School chatted with Rozman and Talve about their creative process, memorable moments during the production, and the influences that inspire much of their work on Prehistoric Planet.
Editor's Note: This interview has been edited for length and clarity.
No Film School: What inspired you to work on this project?
Anže Rozman: We were truly inspired to work on the project for BBC's Prehistoric Planet because of our shared passion for dinosaurs and the BBC's nature shows. Since we were kids, we've been captivated by these majestic creatures and the chance to compose a unique and evocative score for such a groundbreaking series was incredibly exciting.
Kara Talve: Collaborating with esteemed individuals like Sir David Attenborough, Hans Zimmer, Russell Emanuel, Jon Favreau, and Mike Gunton was a once-in-a-lifetime experience for us. We felt incredibly fortunate to work alongside such talented professionals who shared our enthusiasm for bringing dinosaurs back to life through music.
Anze Rozman
Talve:When it came to the creative process for this project, collaboration was key for all of us. We made sure to listen to each other's compositions on a daily basis, sharing our ideas and seeking feedback. It was a great way to inspire and challenge each other, pushing the boundaries of our musical exploration. Our collaborative approach allowed us to bring together our unique perspectives and talents, resulting in a more cohesive and impactful score.
Rozman: Our collaboration was truly invaluable. We should also mention that our detailed spotting sessions with the directors were instrumental in understanding the storylines, emotional arcs, and important moments within the show.
Rozman& Talve:We also built instruments specifically for the show. One standout instrument for Season 2 was the "Triceratone," which was made from a Nedoceratops (a close relative of the Triceratops) skull. It was born out of a collaborative discussion with the brilliant minds of Hans Zimmer and Russell Emanuel, our score producer. Their expertise and innovative thinking played a crucial role in conceptualizing the Triceratone and exploring ways to incorporate its distinct sounds into the score. Built by the talented Charles Labrecque, Its unique sounds captured the essence of the Cretaceous period, adding a distinct and primal quality to the music.
Kara Telve
Talve & Rozman: Working on this project has been an absolute joy for both of us, one of the most enjoyable experiences we've ever had the privilege of being a part of. Recording with the incredible BBC National Orchestra of Wales was an absolute dream come true, as their talent and passion elevated our compositions to new heights.
One of the most heartwarming moments was collaborating with the remarkable soloists who added their unique sounds to the score. Gorkem Sen and his mesmerizing Yaybahar, Mark Deutsch and his captivating Bazantar, and Doug Webb with his powerful Subcontrabass Saxophone brought such depth and richness to the music. It was a true honor to witness their mastery and the way they added another layer of emotion to our compositions.
But perhaps one of the most unforgettable moments happened during the Season 2 orchestral recording session. Tim Walker, the showrunner, surprised the orchestra by playing back a scene from the show that they had just recorded the music for. Seeing the orchestra's immediate and genuine emotional response to the music and the scene was incredibly moving. It solidified the connection between the visuals, the story, and the music we had created together, and it reminded us of the power of collaboration and the impact our work can have on others.
NFS: How has your background and previous work influenced this project?
Talve:I have been incredibly fortunate to have had the opportunity to work on various projects throughout my career, including my role as the principal composer for The Simpsons at Bleeding Fingers Music. Each project has played a significant part in shaping my musical journey and has allowed me to grow and learn as a composer. One particularly influential moment for me was when I first heard Thomas Newman's magnificent score for Shawshank Redemption. It left me in awe of his talent and inspired me to strive for that level of emotional depth and storytelling in my own compositions. These experiences have humbled me and provided a solid foundation upon which I can build as I contribute to the musical tapestry of Prehistoric Planet.
Rozman: I must admit, it's truly an honor to collaborate alongside Kara and the iconic Hans Zimmer on the Prehistoric Planet project. Working with such remarkable talents humbles me greatly. I always approach my work with a deep sense of humility, recognizing that there is always more to learn and discover. Whether it's delving into the depths of musical theory or immersing myself in the vast tapestry of world history, I am constantly reminded of how much there is to explore. Each project I have worked on in the past, whether it be BBC's The Planets, BBC's Universe, or BBC's Seven Worlds One Planet, has further enriched my understanding of storytelling, allowing me to bring a heightened perspective to the score of Prehistoric Planet.
