![]() ![]() Dua Lipa also rewrote parts of the song to match up with the Margot Robbie-led dance number. I think that’s like an acid trip,” Drakoulias said on first hearing the track.įacing a similar challenge, “Dance the Night” originally had more “turmoil” in its lyrics, but they rewrote it when they felt they were foreshadowing the movie, according to Ronson. “On Andrew’s demo, you’re like, ‘Oh, this is very vulnerable.’ This is very serious. While writing the song, they tried to strike a balance between sincerity and comedy. Wyatt belted out the lyrics “Can you feel Kenergy? Feels so real, my Kenergy,” which he sings on the actual “I’m Just Ken” track as well. “We added those vocal-performed sounds throughout Barbieland … It’s almost like imagining if a human were to be playing with Barbie dolls and the sounds that they may make.”ĭrakoulias, Ronson and Wyatt later discussed how the film’s soundtrack came together. “That’s kind of like those bluebird calls in ‘Snow White,’ those classic Disney films,” she said. Director Greta Gerwig told Lee she wanted the sounds to feel “authentically artificial.” For instance, Lee said some of the bird chirps heard in the film are not recordings of real birds, but the team blowing through water-filled clay whistles to emulate a bird chirp sound. Re-recording mixer Ai-Ling Lee also discussed designing the sounds of Barbieland. ![]() Are you crying yet?’ I’d be like, ‘No, I guess we got to keep going.’ It was just like we were just trying to move each other as much as we could.” “I’d be like, ‘What do you think?’ He’d be like, ‘I’m not crying yet. While working in the studio, Ronson and Wyatt wanted their score to match how emotional the scene was. “We knew that whatever had to happen at that moment had to be not only this really important cathartic, emotional thing, but also not get in the way of all this beautiful dialogue and then at the same time set up the Billie song perfectly,” Ronson continued. The duo ended up writing about 17 pieces of music for that part. “I remember walking out and just actually going home and writing a piece of music, just being so inspired by the still of that,” he said. Ronson then reflected on scoring the scene leading up to the montage of clips from women’s lives while Billie Eilish’s “What Was I Made For?” plays. Once they had the right synth, it was about finding a combination that both pulled in classical sounds to give the score “moments of grandeur that only an orchestra can give and a cinematic, and a feeling only an orchestra can give,” explained Wyatt. “Greta loved the sound of these,” he says.Īdds Wyatt, “There are 30-40 of them left in the world and they have this incredible sound that is like water.” In addition to taking inspiration from the unique set design, Wyatt said he and Ronson started looking for real synths from the ’70s and ’80s that were employed “during the period of Barbie’s apotheosis where Barbie was becoming the doll that everybody knew about.” ![]() “The gauntlet had been thrown down by the production design because the production design doesn’t look like any other movie that’s ever been.” “What was going to give the film its own kind of musical signature?” Wyatt said, reflecting on their scoring process. The co-composers and songwriters discussed scoring their first movie at Variety’s Artisans Screening Series of “Barbie,” moderated by Variety’s senior artisans editor Jazz Tangcay. Music supervisor George Drakoulias first reached out to Mark Ronson about working on two songs for “Barbie,” which became Ryan Gosling’s “I’m Just Ken” and Dua Lipa’s “Dance the Night.” However, that two-song assignment soon turned into Ronson and Andrew Wyatt composing the entire score.
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