TV

The New Champion: An Interview with Bear McCreary of 'Human Target'

Bear McCreary’s musical versatility has made him one of the most sought-after composers in television. In an interview with PopMatters, McCreary reveals his unabashed love of film and television scoring as he talks about his latest release, the soundtrack to Season One of Human Target.

From Battlestar Galactica and Caprica to Human Target to The Walking Dead, Bear McCreary's musical versatility has made him one of the most sought-after composers in television. Fresh off of an Emmy nomination for his title theme to Human Target, McCreary sits down with PopMatters to discuss his unabashed love of film and television scoring, his triple-disc soundtrack to Season One of Human Target, and why he’s not returning for Season Two ...

+++

The Human Target television show is based on a popular comic. Tell us a little about the story.

The premise of Human Target is essentially about a bodyguard for hire named Christopher Chance, who protects high-risk clients. In the comic book, he actually did this by becoming the client and making a mask and posing as the client. In the series, they've eliminated that aspect of it and it's a little more plausible. He just gets close to his targets and he, you know, will pose as your financial advisor or your assistant or whatever. But the premise isn't what makes it a wonderful show. It's in a class of its own. What showrunner, John Steinberg, did was essentially create a show that harkens back to the movies of the 70s or 80s. If anything, it feels like Indana Jones or Lethal Weapon or Die Hard, and Mark Valley plays Chance as that kind of classic, rugged, antihero. Smartass, badsass, and wiseass all rolled together. And Chi McBride & Jackie Earle Haley are his sidekicks and they're hilarious, and it really captures that magical, Lethal Weapon time.

The score that I was able to write for the show was nothing like contemporary scoring at all. It feels like Alan Silvestri, John Williams, Gary Goldsmith, Elmer Bernstein, or any of the guys I grew up listening to. This is the kind of score that Steinberg wanted to have for the show, and the result is -- I think it's one of the best albums I ever made! It's the album that I would've listened to when I was a kid 'til the CD wore out.

How did you get involved with Human Target?

I met with the producer [John Steinberg] before the pilot was even shot, he was still writing it. And I knew right away at that meeting that obviously this is a guy who takes music very seriously, because normally in a TV pilot you wouldn't even hire a composer at all. Normally, you'd wait until the show is picked up to spend the money. Remember, a TV pilot is like an experiment. You try it out, and if it works, then they make it a series. So, the cheaper you can make the pilot the better. Steinberg really wanted to spend the time and money and energy to get a composer early on and do a live orchestral score on the pilot before it was even picked up. So, I knew he took music seriously. We started talking, and he'd found me mostly through my work on BSG and he was aware of it and he met with me even though, he admitted later, he didn't think I would be the guy to do Human Target because BSG does not sound like the music that I wrote for Human Target! I mean, it's almost like a complete backlash against that. We immediately started nerding out about our favorite film score composers and our favorite movies and we really got along. I sealed the deal by sending him some tracks from a video game that I had scored called Dark Void. And Dark Void was a big orchestral score, but it was also combined with a lot of tribal and ethnic instrumentation. I mean, if anything, Dark Void is the bridge between Battlestar and Human Target.

And when he heard that stuff, I think he was convinced that I would be the guy to tackle Human Target. It was a great experience. I absolutely adored working with John. Of all the producers I've worked with I've never met one who's so keenly aware of music and what it can do. I mean, he's not a musician, but he really kind of is a musician at heart. He's really amazing.

It sounds like you had a wonderful collaboration.

We did! You can even hear that in the soundtrack album. The cues in the soundtrack album are not in chronological order, because I put them in the order that I like to listen to them in. But if you listen to them and start with the pilot and start moving through the episodes as they aired, you can actually hear that the score becomes much more sophisticated as it goes along, as I'm experimenting and trying different things. I'm also working with John trying to push the envelope to see how orchestral can we get? How far can we push this sound and still have it function and still have it feel contemporary? And we found that we could push it pretty damn far! I mean, by the last episode it is so shamelessly romantic, and it's so shamelessly orchestral. It's the kind of thing where, if I would've tried to do this kind of sound of Battlestar, I would've been fired, and with good reason! But this was something that really took the collaboration of the two of us to find the balance where we could get that tone, and I think we did it. I'm immensely proud of the work I did on Human Target, and I'm so grateful that Warner Brothers let me put out this soundtrack album so that people can experience this music on its own.

Why won't you be joining Human Target for the second season? And do you know what the direction of the music will be as the show goes on?

I just don't know either way. All I know is that I was not asked back, and they have a new showrunner to take the reins, so John Steinberg is not involved in running the show anymore as far as I know. So, there's clearly a new creative direction. What will the music sound like in Season Two? I don't know. I'll wait to hear it with everyone else!

I think there was a big creative shift, and I would've loved to have stuck around and continued to explore this sound. However if what they want now is something different than this sound, then I'm happy that they didn't ask me back. Because this, to me, is the sound of Human Target. I'm just so proud of what we did on Season One, and I'm happy that this can stand on the soundtrack album. And I wish the best of luck to whoever takes it over!

Having never watched the show or read the comic, the music on its own actually made me interested in the source material!

That's what's so cool about it! The soundtrack album is a love letter to soundtrack fans, and I'm really hoping that fans of orchestral scores will pick up this CD even if they've never seen the show. I mean, the show is fun and great, and I encourage people to check out Season One on DVD, but even if you don't want to watch the show, I think anyone that grew up listening to the soundtrack scores that I grew up listening to, when they hear the Human Target score, they'll just get a huge smile on their face! That was my goal, and I really feel like we got there.

You were recently nominated for an Emmy for your Human Target theme, which assembled the largest orchestra in the history of television themes. What does it feel like to have that kind of pull?

Well, I would love to take all the credit! But actually this credit is due to John Steinberg. He is the one that knew he wanted to do this, and found the budget to do it, and made it a priority for him; made it a creative priority of Human Target to have a large orchestra. I think as a composer, you need to have enough of a reputation so that people know if they give you the budget you're not going to screw it up. But really, as a composer you can say you want a big orchestra til you're blue in the face. Without a producer willing to step up and really convince the studio why this is needed, it will never happen. So, as I said, Steinberg appreciates orchestral music in a way that very few producers do, and he understands the power it can bring to films and TV. So, he made it happen. I don't know if anyone else could've pulled that off.

Describe your process for Human Target. How is it similar to or different from your other television work?

Well, all of my shows are done with live instruments. The only thing that made Human Target different was the sheer scale. Generally I have between five and maybe eight to ten live musicians on a typical episode. On Human Target the average orchestra was 60 players and the last one was 95. So, this was actually more different for my orchestrators than for me, because I'm still writing the music as quickly as I can, but the orchestrators are turning over huge orchestral scores every week. The thing that made Human Target the most challenging was just preparing for the amount of work that was going to happen for each episode.

Typically I would start writing on a Tuesday morning. By Saturday or usually Sunday, I'd have about 32 minutes of orchestral music written. Then Monday night, we'd record with a full orchestra, and that was an exhausting process! And yet, by the following Tuesday morning, I'd start the next episode. And we did that ten episodes in a row. It was like marathon training for the creative mind. After a while, it was like a runner's high. I was so tired, I almost didn't feel it anymore. Let's do another episode! Why take a break? And then of course, once Human Target was done I was like "Aw, man! I could keep going!" but then I slept for a week, you know?

In Americana music the present is female. Two-thirds of our year-end list is comprised of albums by women. Here, then, are the women (and a few men) who represented the best in Americana in 2017.

If a single moment best illustrates the current divide between Americana music and mainstream country music, it was Sturgill Simpson busking in the street outside the CMA Awards in Nashville. While Simpson played his guitar and sang in a sort of renegade-outsider protest, Garth Brooks was onstage lip-syncindg his way to Entertainer of the Year. Americana music is, of course, a sprawling range of roots genres that incorporates traditional aspects of country, blues, soul, bluegrass, etc., but often represents an amalgamation or reconstitution of those styles. But one common aspect of the music that Simpson appeared to be championing during his bit of street theater is the independence, artistic purity, and authenticity at the heart of Americana music. Clearly, that spirit is alive and well in the hundreds of releases each year that could be filed under Americana's vast umbrella.

Keep reading... Show less
Features

The Best Country Music of 2017

still from Midland "Drinkin' Problem" video

There are many fine country musicians making music that is relevant and affecting in these troubled times. Here are ten of our favorites.

Year to year, country music as a genre sometimes seems to roll on without paying that much attention to what's going on in the world (with the exception of bro-country singers trying to adopt the latest hip-hop slang). That can feel like a problem in a year when 58 people are killed and 546 are injured by gun violence at a country-music concert – a public-relations issue for a genre that sees many of its stars outright celebrating the NRA. Then again, these days mainstream country stars don't seem to do all that well when they try to pivot quickly to comment on current events – take Keith Urban's muddled-at-best 2017 single "Female", as but one easy example.

Nonetheless, there are many fine country musicians making music that is relevant and affecting in these troubled times. There are singers tackling deep, universal matters of the heart and mind. Artists continuing to mess around with a genre that can sometimes seem fixed, but never really is. Musicians and singers have been experimenting within the genre forever, and continue to. As Charlie Worsham sings, "let's try something new / for old time's sake." - Dave Heaton

10. Lillie Mae – Forever and Then Some (Third Man)

The first two songs on Lillie Mae's debut album are titled "Over the Hill and Through the Woods" and "Honky Tonks and Taverns". The music splits the difference between those settings, or rather bears the marks of both. Growing up in a musical family, playing fiddle in a sibling bluegrass act that once had a country radio hit, Lillie Mae roots her songs in musical traditions without relying on them as a gimmick or costume. The music feels both in touch with the past and very current. Her voice and perspective shine, carrying a singular sort of deep melancholy. This is sad, beautiful music that captures the points of view of people carrying weighty burdens and trying to find home. - Dave Heaton



9. Sunny Sweeney – Trophy (Aunt Daddy)

Sunny Sweeney is on her fourth album; each one has felt like it didn't get the attention it deserved. She's a careful singer and has a capacity for combining humor and likability with old-fashioned portrayal of deep sadness. Beginning in a bar and ending at a cemetery, Trophy projects deep sorrow more thoroughly than her past releases, as good as they were. In between, there are pills, bad ideas, heartbreak, and a clever, true-tearjerker ballad voicing a woman's longing to have children. -- Dave Heaton



8. Kip Moore – Slowheart (MCA Nashville)

The bro-country label never sat easy with Kip Moore. The man who gave us "Somethin' 'Bout a Truck" has spent the last few years trying to distance himself from the beer and tailgate crowd. Mission accomplished on the outstanding Slowheart, an album stuffed with perfectly produced hooks packaged in smoldering, synthy Risky Business guitars and a rugged vocal rasp that sheds most of the drawl from his delivery. Moore sounds determined to help redefine contemporary country music with hard nods toward both classic rock history and contemporary pop flavors. With its swirling guitar textures, meticulously catchy songcraft, and Moore's career-best performances (see the spare album-closing "Guitar Man"), Slowheart raises the bar for every would-be bro out there. -- Steve Leftridge



7. Chris Stapleton – From a Room: Volume 1 (Mercury Nashville)

If Chris Stapleton didn't really exist, we would have to invent him—a burly country singer with hair down to his nipples and a chainsaw of a soul-slinging voice who writes terrific throwback outlaw-indebted country songs and who wholesale rejects modern country trends. Stapleton's recent rise to festival headliner status is one of the biggest country music surprises in recent years, but his fans were relieved this year that his success didn't find him straying from his traditional wheelhouse. The first installment of From a Room once again finds Stapleton singing the hell out of his sturdy original songs. A Willie Nelson cover is not unwelcome either, as he unearths a semi-obscure one. The rest is made up of first-rate tales of commonality: Whether he's singing about hard-hurtin' breakups or resorting to smoking them stems, we've all been there. -- Steve Leftridge



6. Carly Pearce – Every Little Thing (Big Machine)

Many of the exciting young emerging artists in country music these days are women, yet the industry on the whole is still unwelcoming and unforgiving towards them. Look at who's getting the most radio play, for one. Carly Pearce had a radio hit with "Every Little Thing", a heartbreaking ballad about moments in time that in its pace itself tries to stop time. Every Little Thing the album is the sort of debut that deserves full attention. From start to finish it's a thoroughly riveting, rewarding work by a singer with presence and personality. There's a lot of humor, lust, blues, betrayal, beauty and sentimentality, in proper proportions. One of the best songs is a call for a lover to make her "feel something", even if it's anger or hatred. Indeed, the album doesn't shy away from a variety of emotions. Even when she treads into common tropes of mainstream country love songs, there's room for revelations and surprises. – Dave Heaton

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

Keep reading... Show less

Scholar Judith May Fathallah's work blurs lines between author and ethnographer, fan experiences and genre TV storytelling.

In Fanfiction and the Author: How Fanfic Changes Popular Culture Texts, author Judith May Fathallah investigates the progressive intersections between popular culture and fan studies, expanding scholarly discourse concerning how contemporary blurred lines between texts and audiences result in evolving mediated practices.

Keep reading... Show less
8

Which is the draw, the art or the artist? Critic Rachel Corbett examines the intertwined lives of two artists of two different generations and nationalities who worked in two starkly different media.

Artist biographies written for a popular audience necessarily involve compromise. On the one hand, we are only interested in the lives of artists because we are intrigued, engaged, and moved by their work. The confrontation with a work of art is an uncanny experience. We are drawn to, enraptured and entranced by, absorbed in the contemplation of an object. Even the performative arts (music, theater, dance) have an objective quality to them. In watching a play, we are not simply watching people do things; we are attending to the play as a thing that is more than the collection of actions performed. The play seems to have an existence beyond the human endeavor that instantiates it. It is simultaneously more and less than human: more because it's superordinate to human action and less because it's a mere object, lacking the evident subjectivity we prize in the human being.

Keep reading... Show less
3
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image