Paul E. Francis has had his hands in numerous productions for film and television, and has worked with some of the world’s leading orchestras. For the past five years, he’s served as the go-to composer for Paul Hyett, one of the most brutally unrelenting directors in modern horror. So far, he’s composed two of Hyett's films: werewolf bottle-film, Howl and human trafficking thriller, The Seasoning House. On deck is Hyett's upcoming supernatural period-horror Heretik, which is currently in production. Another one of his very cool projects is WB Animation’s Bunnicula, which has challenged Paul to focus his horror and genre musical palette towards appealing to a multi-generational audience, leading him to a variety of strategies and sounds, including the use of a theremin.
I got the chance to ask Paul some questions about his composing career including his process, who he’s inspired by, his dream collaboration, and the ups and downs of his job. Read on below to check out our conversation.
What projects are you currently working on? Which are airing or about to release?
Currently, I am working on season 2 of Bunnicula for Warner Bros. Animation and soon to start a horror project called Heretiks. We are around halfway through Bunnicula season 2 at the moment, and I’m having a ball. I genuinely love the show. The writing is fantastic and the overall production value is nothing short of brilliant! Shaunt Nigoghossian and Jessica Borutski have done a superb job on season 2, and I’m having one of the best collaborative experiences to date. I can not speak highly enough about the show, and I’m very excited for it to be released so you guys to see for yourselves.
Who have been your favorite people to collaborate with?
Again, Shaunt Nigoghossian and Jessica Borutski on Bunnicula. I also had a great experience with Joe Melendez on the film we did for Nickelodeon, Legends of the Hidden Temple. We are hoping to work together again very soon on his next project, so I’m excited about that. Paul Hyett, who I am about to collaborate with for a third time now on Heretiks is a great. We have a very clear understanding of horror, and what we want to achieve within in the score. I am looking forward to our latest collaboration. More recently, I got to work with Scott Mcaboy on Escape from Mr Lemoncello’s Library. Scott was a real pleasure to work with, and such a nice guy. It’s interesting - as a composer you often get asked to pitch for a project, which I understand is part of the process, and I do feel that yes, it is important that you can obviously write music and understand the filmmaking process, but a good collaboration is everything. I would much rather meet with a producer/director and if we hit it off, great. If not then that's fine too, but you can be a fantastic composer but unable to take direction, and end up frustrating the filmmakers, so good collaboration is everything.
Who would you most like to work with?
To mention a few, Matt and Ross Duffer (Stranger Things), David Albert, and Gale Anne Hurd (The Walking Dead). I love what those guys are doing.
When you are given a project or scene to score, what is your process like? What are the first steps you take when deciding how to score something?
It definitely varies. Usually after the spotting session, I have a good idea on what the director/producers are looking for. I am usually given temp music that I am sometimes asked to refer to. In other cases, I will ask to see the film with no temp music, as I feel it can sometimes prohibit the creative process and freedom to explore. Usually though, I will sit and watch the film a few times, almost as a silent movie and then come up with a few ideas. I then try them against the dialogue and adjust, tinker, or start again depending on how it all plays back.
What do you wish you knew in the beginning of your career about the entertainment industry or being a professional composer, that you know now?
Where do I start? I mean, it’s unfair to beat yourself up about how you could of done things differently. Especially when it comes to winning pitches and carving out opportunities. While it is true that we create our own luck, it does just come down to being in the right place at the right time. I think if I could give my younger self a word of advice, it would have to be, don’t be so shy. Even now, I’m hesitant to be persistent and send that follow-up email, but the reality I’ve come to realize is that, talent only gets you so far. Unless you have an agent working on opportunities for you, then getting your foot in the door is a skill by itself, but once you have, it’s then down to your musical chops to keep you in the room.
What is the best thing about your job?
The fact that I get to create every day. It’s a complete joy to be able to do so.
What is the hardest thing about your job?
Occasionally, you will be presented with a rather tight deadline that you have to turn the score around in. But that's just part of the industry and you have to accept that and rise to the challenge. Sink or swim.
Who are some of your musical influences?
John Williams was a massive inspiration for me. I grew up adoring his music and in many ways, he’s why I wanted to become a film composer, but there are so many more. I grew up in the eighties when we had films like Ghostbusters, Back to the Future, Indiana Jones, The Goonies, etc. For me it was the best period in terms of exciting original content on the big screen, but it was also fun. Even though I am very much up to date and in the present with modern production techniques, I still can not help but be inspired by that golden period of film, and hopefully that conveys to the listener in my work. It’s interesting because we have heard soundtracks evolve over the years to the point where film music is big business now. Film composers have their own fanbase and there is just a greater awareness about it. You can now hear it changing again with composers like Michael Giacchino who is clearly influenced by the older composers like John Williams and Jerry Goldsmith, which is great because so am I, so it’s nice to hear someone like Michael Giacchino keeping that style alive.
Follow Paul on twitter (@PaulEFrancis) and check out his website here: https://www.paulefrancis.com/