Could Music for ‘Andor,’ ‘Obi-Wan Kenobi,’ ‘Mandalorian’ All Earn Emmy Nods?
variety.comJon Burlingame Music has always been an integral part of the “Star Wars” universe, dating back to the John Williams scores for the original movie trilogy.
So will Emmy voters recognize one, two or all three of the recent “Star Wars” TV series in the scoring categories? Vying for consideration: the 12-part “Andor,” with music by Emmy-winning, Oscar-nominated Nicholas Britell (“Succession”); the six-part “Obi-Wan Kenobi,” with a new theme by Williams and score by English composer Natalie Holt (“Loki”); and the eight-part third season of “The Mandalorian,” with music by Joseph Shirley.
All aired on Disney+. Britell spent more than two years on “Andor,” the backstory of “Rogue One” hero Cassian Andor (Diego Luna), including several months creating music that was played on the set during filming – from the Time Grappler’s hammer-banging signals on Ferrix to the alien electronica in the clubs on Morlana and the amateur funeral band playing a dirge for Cassian’s mother in the finale. “The role of music was really evolving throughout the series, as Cassian learns about himself,” Britell says. “It really grows in scope over the course of the 12 episodes.” The score combined traditional orchestra (as many as 80 players), synthesizers, sampled sounds and advanced production techniques.
Unlike most series, the main-title music changed every week depending on where the story was taking place and what was happening in Cassian’s life. “It was a constant sense of discovery, because each new episode was often a new planet, a new chapter unfolding,” Britell says.
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