Hero Fiennes Tiffin Talks First Love, Diane Kruger, Wanting to Branch Outside of the Romance Genre and Teases After Ever Happy
After a lovely conversation with First Love director, A.J. Edwards last week, it was great to speak to the lead actor, Hero Fiennes Tiffin. You may know him as the heartthrob lead in the After films (2019-2022), Hardin Scott, but his turn in another romance film, First Love is a great performance to watch for those who are unaware of his work. He’s a lovely gentleman and I cannot wait to see where his career goes.
I spoke with Hero about his experiences on First Love, specifically working with Sydney Park and playing Diane Kruger’s son, but he also spoke about his upcoming roles, wanting to diversify from the romance genre, and gives a little tease as to what’s to come in the fourth After movie, After Ever Happy.
Coastal House Media: Hi, Hero, it’s a pleasure to meet you. How’s your day going so far?
Hero Fiennes Tiffin: Good, pleasure to meet you too, Andrew. The sun’s out in London, which doesn’t happen often, so I’m happy.
CHM: Before we get too far into this interview, what led you to take on this role in First Love?
Fiennes Tiffin: Do you know what? That’s a really good question. I’ve done a bunch of romance films called the After franchise, and I was keen to start exploring other genres and then I’ve got another romance come through and I was out to my agents, “Guys, I thought we were trying to move away for a bit,” and they said, “Just read it, it’s a great script, great director.” And I read it and it was a great script with a great director. So I thought I’d always give the time to talk to A.J. [Edwards], the director, and when I did it was his belief in the project and specifically belief in me that kind of persuaded me to do it.
I think I was quite ready on that call to say, “I’d love to keep doing romances every now and then, but I think I’m quite keen to diversify my portfolio by doing different genres,” and yeah, it was his belief in the project and belief in me, I guess, that led me to say yes. And yeah, I don’t regret any of it. I was so, so lucky and happy and learned so much working with all those actors and with A.J. [Edwards].
CHM: Do you recall your first zoom meeting with A.J. [Edwards] by any chance? I spoke to him last week and he vividly remembers that and I just was curious to hear your perspective.
Fiennes Tiffin: Yeah, I do. I remember it very well. I was in the hotel room in Wales that I was staying in while I was shooting The Loneliest Boy in the World. And again, he might not know this, but my perspective was very much: “I’m going to hear him [out] and let him persuade me and stay open-minded,” but I kind of entered that call being aware that I might not want to do another romance so soon off during the back of [the] After [movies], but again, in the first minute and a half, his belief in me is kind of what persuaded me to do it, so I remember that call distinctly.
CHM: You just mentioned how many romance movies you’ve done, but what do you hope that audiences take away from First Love and find unique about it?
Fiennes Tiffin: Well, I think the difference between specifically First Love and the After franchise [is] that they’re completely different sides of the romance coin; the character specifically the character I play in First Love, Jim, is so different to the character Hardin in [the] After [movies]. And I think the dynamic of their relationships [are] different and just how they tell the story. I mean, you can have a genre movie [be] completely different from another movie in the same genre, and I felt like if I was going to do another romance [movie], it was important that it was the other side of that coin, which First Love definitely was.
CHM: Shifting gears back to A.J. [Edwards], I know you talked about his belief in the project, but what was unique about him as a director, as opposed to maybe some others you’ve worked with? And was there anything that you learned in particular from A.J. [Edwards]?
Fiennes Tiffin: All my experience as an actor has come firsthand on-set — I’ve never done any training. A.J. [Edwards] is a little bit old school in the best way and quite experimental and testing and I think he knows the project so well. [And with] his editing background, he knows how he’s going to piece it together. He would throw out some things here and there, like say we had a couple of hours free, he’d be like, “Let’s do post-breakup,” and instantly, just like that, [you’re] making [things] up as you go. So very improvisational and [he’d] just chuck you in the deep end, which I think you get some great stuff out of it.
Also, [having] the ability to just work without having to worry too much about continuity is so freeing. I think nowadays when you work with a bunch of cameras [it] is so important to make sure [that you] sip the water on the same line and do the actions at the same time, which can sometimes take away from the performance because you have to juggle so many different physical things in your head and beats to get. But A.J. [Edwards] allowed us to just live it and just say, “Do you want to do that scene completely differently?” [and then on] take two [say], “Do whatever you want,” and that allowed such a spontaneous, real, authentic kind of performance [that] made me feel so free, and I’m really proud of the work. I think his style was different and I can actually speak for a while about how kind of different he is to every other director I worked with, but I loved it.
To sum [it] up in a nutshell, [it] is just so freeing. There [are] no limitations on what you can do or when you should do it, he will make it work. If you can put the performance out there, he’ll make it work within the film.
CHM: I want to talk a little bit about Sydney [Park], who you share a lot of your screen time with. Could you describe her in three or fewer words as a screen partner?
Fiennes Tiffin: I’m going to need more than [three words] — I can’t do it in three or less. She’s so fun to be around. It’s kind of nuts, I don’t know how she’s always so positive on-set. It feels like she’s done this a million times and she just enjoys it and has fun with it.
She [will be] joking around, doing accents, playing around, and then, “Action,” and she’s straight into character. I think all the actors on it were amazing to work with, but Sydney [Park] just kept me in a good mood, she’s so positive. And just like I said, she feels like she’s a veteran. I mean, she’s obviously so young and new to the game, but she’s clearly had enough experience to feel so comfortable and that kind of has a knock-on effect on you. I feel like everyone around someone who’s comfortable and happy on-set kind of feeds into that as well.
CHM: Did the chemistry come naturally for you guys? Did you guys have to hang out a little bit before the production?
Fiennes Tiffin: We hung out a little bit. We didn’t get too much time, but we went to grab some food and we played a bit of golf with a bunch of other people through[out] filming, but we didn’t get too much time. I think we just naturally got on quite well, which was good [and] I hope that shows. We’re both Scorpios as well, so that might have something to do with it [laughs].
CHM: One of the established actors in First Love is Diane Kruger. Not many people can say she played their mother, what were some memories you had working with her? And did you learn anything working closely with her?
Fiennes Tiffin: There’s a scene in the film where she starts to get a little bit emotional and I genuinely forgot I was acting. I felt like I was [in the] front row at the most amazing theater performance and I suddenly realized, “Oh my God, it’s my line!” and I’ve just been so absorbed in having this front row view of such an incredible performance. Everyone on it was so great in that own way [and] I’ve only got great things to say about everyone, but I think Diane [Kruger] was really aware of her talent going in and that was a big part of taking [on] the project like, “I’m playing Diane Kruger’s son.”
I feel like at this stage, I’m always so keen to work with great actors like her [Diane Kruger] because I know I’ll learn so much and I really did. I was lost for words at some points; the way she can just turn it on and off. It was a pleasure to play her son.
CHM: What’s your favorite memory attached to the film? It sounds like you guys had some fun off-set, but what was your favorite memory?
Fiennes Tiffin: I don’t know if I have a specific thing, but I just enjoyed the whole process because we shot in L.A. [and] I stayed 20 minutes from where we were. And I’m sorry, I’m not specifically answering your question as to a specific thing I loved, but the general thing I love so much was just how it felt like we were making — in the best way — a fun movie with a bunch of friends who had come together. Every location we’re shooting is 10, 15 minutes from somewhere else, and I’m sure we did everything by the book, but we definitely made the most of having a small crew and the ability to just be like, “Let’s shoot over there,” and “Let’s shoot over there in natural light,” and everyone was so collaborative; it just felt like we were doing it for fun, not work. I think the general vibe [and] feeling on-set was what I remember distinctly as the most fun.
CHM: Do you remember the scene where your character takes Sydney Park’s character on their first date by the water? A.J. [Edwards] had described that day and I don’t know what your perspective as an actor [is] compared to his, but I think if I’m not mistaken, you guys had to shift to that location. I don’t know if you were aware of that. Do you remember that day at all?
Fiennes Tiffin: Yeah, I think [that] for the actors, [it] felt really freeing and liberating and we’re [just] doing this [and] that. I’m sure for [the] producers, it was a nightmare because you’re constantly having to adapt, improvise and overcome. But that location is so beautiful and it just felt, again, like we drove an hour down that way, we saw a beautiful spot [and said], “Let’s go shoot there,” and that authentic nature of coming to the location the same way the character would had a domino effect all the way down to [the] performance. I think all of the locations were so beautiful, I remember that day so well, and as I said, [it was] so fun for us, but I’m sure [that] for the producers, it was probably a bit challenging, logistically. But I’m so proud of all the locations and spots we filmed in.
CHM: Your character in the movie makes a mixtape for Sydney [Park]’s. Have you ever done that in real life?
Fiennes Tiffin: I’m so bad with playlists. I’ve got so many songs [but I] just think of it, search it, and then years later I’m like, “Oh, I haven’t thought of or heard that song in ages,” because I was too lazy to make a playlist. So no, that’s something that I should learn from Jim, the importance of making mixtapes and playlists. But A.J. [Edwards] actually sent us a Spotify playlist of the kind of music around the time  that Jim would maybe listen to and that was really helpful to get into character. I think I can take a leaf out of A.J. [Edwards] and Jim’s book in that way.
CHM: If you were to make a mixtape for somebody, could you name one song that you would put on it?
Fiennes Tiffin: There’s a song by Sam Sparro called Black & Gold that I always forget to add to playlists and I always come back to; it feels kind of timeless, so maybe that one.
CHM: I don’t know anything about the After movies, quite frankly I get them confused with Linklaters’ Before trilogy, so could you give me a little bit of an elevator pitch for these films?
Fiennes Tiffin: Listen, I think the fanbase of the books specifically, and then the films secondarily kind of speaks for itself in a way that I think the story is so brave in showing a relationship that is so far from perfect [yet] both parties worked so hard to make it perfect. I think the fanbase speaks so loudly in terms of how much people resonate with that and how much criticism you can get for portraying a toxic relationship. But no one wants to watch a film where everything goes right, do they? So I think that kind of teeter in the balance between documenting a relationship that’s challenging where both parties try so hard in that poignant, important part of your life when you’re coming of age; similarly to First Love.
I think [the] After [movies are] definitely high-stakes, dramatic [movies], you know? Everything is turned up to 10 out of 10. If you’re looking for a steamy romance, I don’t think you’d have to look much further than [the] After
CHM: If I’m not mistaken, there’s a fourth one coming out this year, correct?
Fiennes Tiffin: Yes. I honestly lost count at this point, but there is; I’m really happy.
CHM: You mentioned there’s like a rabid fanbase so could you give me any sort of tease for what’s to come in this?
Fiennes Tiffin: I think naturally, as you know, people who have read the book know we’re coming to an end. If there’s anything that’s in the books that you think should be in [here], that probably [will] be in this one.
Without saying too much, we are coming to an end, so I think if you’ve seen the first few, you definitely need to see this one. And if you haven’t, then you need to go to watch them.
CHM: You mentioned wanting to kind of get out of the romance genre a little bit, do you have any other projects coming up that maybe aren’t in the romance genre?
Fiennes Tiffin: I definitely do. I shot something in South Africa called The Woman King, which I’m so excited for. And again, I learned so much working with some amazing actors on that [film such as] Viola Davis, Lashana Lynch, Sheila Atim, Jordan Bolger, John Boyega, yeah, I can’t wait for that. That’s very far from a romance, especially [with] my character, so [I’m] happy to diversify the portfolio. I think that one comes out around mid-September.
First Love will be released in theaters and on demand on June 17 by Vertical Entertainment.
Ginny & Georgia Composers Lili Haydn and Ben Bromfield Talk About Their ‘Eclectic’ and ‘Sensitive’ Score
Season 2 of ‘Ginny & Georgia’ is streaming on Netflix now.
From the opening scene of the second season of Ginny & Georgia, I was welcomed with an amazing musical score by Lili Haydn and Ben Bromfield. Whilst this show is not generally my cup of tea, the music was just so interesting. How does “Welcome Back Bitches” nail such a modern sound akin to LCD Soundsystem’s “oh baby”? How do they manage to shift between that tone and more of a somber, piano-driven number like “Not a Murderer” or the Americana guitars on “Childs Play (Hunter’s Song)”?
I had the pleasure of speaking to both Lili Haydn and Ben Bromfield about their latest work. We talked all about their fantastic score, but more importantly, we began by talking about cats. Yes, you read that right.
Be sure to check out the second season of Ginny & Georgia on Netflix now, and you can hear Lili Haydn’s latest single, “Woman Life Freedom,” here.
Coastal House Media: I have a sort of fun question for each of you to start. Ben, I’ll start with you, I was looking at your website and I saw a picture of a cat on your website, so I was curious, what’s their name and age?
Ben Bromfield: You know, we have a couple of cats in my family, so that’s Cammy. She’s now, I think 14 or 15. She’s going strong. She’s heavily medicated at this point, but she’s a sweet, happy cat. We’ve got another named Oscar who has rapidly gone from being a kitten to a pretty chunky guy. And then we’ve got our dog Jones, who is the light of my life.
Lili Haydn: [laughs] Well, the fact that you’re showing us pictures of your cats — you’re speaking my language because I am obsessed with my cats and I have the best cat treat in the world. And my kitten is gonna rear her head, and both cats are rapidly approaching. Both of them are circling the den [laughs].
You gotta get your cats this [shows package to the camera] — they’re chicken breast tenders. They’re really good for them and they go crazy for them.
CHM: Since you’re both cat people then can I ask you guys each, what’s your favorite thing about having a cat?
Haydn: Kissing them. Kissing cats is like my favorite thing to do in the world, I think more than anything else, to be honest.
CHM: Even more so than playing the violin?
Haydn: More than anything in the world.
Bromfield: I’m always amazed by how smart they are. There’s this thing called a puzzle box. I don’t know if you’ve heard of that, but it’s more of a dog thing where like you put a treat inside a cardboard box, and then you just leave the dog [to] go for it. And then they rip it apart and it’s fine.
I made one and Oscar just absolutely hijacked it. But my other cat, Cammy, does this thing, and I love old cats because they have so much character at this point, but when you pick her up, she wraps her arms around your neck and we call her a koala-cat and she just sort of like hangs on to you and it’s the sweetest thing. She really is the sweetest cat.
CHM: Aw, that’s adorable. Well, both of you guys have adorable cats. Lily, I was listening to your cover recently of “Kashmir,” I found it on YouTube, and I was just curious cause I know that you also opened for Robert Plant and Jimmy Page a few years back. I don’t know when that was recorded in relevance to that, but did they ever hear your cover of that song, and what were their reactions?
Haydn: I don’t know if Jimmy Page heard it, but Robert said he loved it. And I got their blessing before I did it because they’re real artists. I mean like they’re not just some pop sensation, as you know, and they’re not just legends that have let their golden days pass them by. They’re people that seek out new music that excites them. That’s why they were open to having somebody like me open for them. They really are curious and I wanted to honor the seriousness with which they approached their music when I covered it. So getting their blessing was really important.
CHM: Well, it’s an amazing cover, and you guys are both real artists as well. I don’t know if you guys have worked on any other projects together, but how were you guys paired up for Ginny & Georgia?
Bromfield: I’m gonna start this [and then] I’m gonna throw it to Lily this time. My career in scoring started in a typical way where I was a composer’s assistant before I was a composer, and I got to work on a bunch of shows and I got to know the process really well. And the majority of that work was done for this guy, Tree Adams, who’s a dear friend and mentor — I call him my sensei. Tree is a great TV and film composer, and I [have] worked for him for five years now. He plays with his band sometimes and they were playing a gig [and] I came out to support him and sit in a little bit on keys. Lili was also there because she had her own relationship with Tree.
Haydn: I used to play violin and sing for him a lot, and then I actually reached out to him when I was trying to pitch on a show that I thought that I was right for. But I knew I wouldn’t get taken seriously as a television composer having not done TV before without somebody who was a veteran, so I reached out to him and he was generous enough to say he would pitch with me. We didn’t get that show, but he kept me in mind so that when Ben, who I actually did get to meet and jam with at Tree’s gig, when Ben reached out to Tree for recommendations for a woman composer for this show to pitch, Tree recommended me and then we had remembered that we played together. It all kind of happened very quickly. And I was actually on my way to India for a performance and I was emailing and putting my reel together at the airport, and to this day we still communicate on WhatsApp because most of our initial conversations were done internationally.
So we just threw it together. We had a sense that we would work well together because we had jammed and Tree felt like we would, and we both work on the same platform, same program — Pro Tools — and we pitched and it just came together.
But I have to say [about] our chemistry, you never really know how you’re ultimately gonna work together with somebody in a pressure situation. And it’s just been magical [and] very lucky collaboration because we complement each other’s skillsets. While we’re both very fluid improvisers, and that has allowed us to create some music that neither of us would’ve created on our own.
CHM: Ben, you’ll answer for Lilly and vice versa. What is it about the other person’s style that attracted you to them and what did you think that they brought to the table with this score?
Bromfield: Great question. There’s a lot of things I could say about this, but I will just say [that] this is not the first time I’ve done a co-composer thing with somebody, and I think that in general, one of the things I like about it is that you get to learn from the other person. Now Lili has a very different way of thinking about music to me than me and I feel like I’ve just learned a lot from working with her about that mindset. I’m going to simplify it a bit and call it “quality over quantity,” which is great as somebody who has more experience spending a lot of time on less minutes of music than me because come from having to score and doing so much music so fast. There’s a sense where it’s not that it’s not quality, it’s just that you can’t really focus on anything [for] too long.
So I think from collaborating with Lili, as somebody who has done those deep dives into music, even if we don’t always have time to do that for Ginny & Georgia — because it’s a TV show — I think that I’ve gotten a lot out of that influence from her, which is something that I feel like you either need to find within yourself or you need to get inspired by somebody else.
And just to round that out, I’m now doing for the first time in my career of about 12 years or so, I’m creating music as art or not for score. I’m writing [and] releasing albums and creating music that’s just for people to listen to and I don’t feel like I would be as comfortable doing that now if it wasn’t for the influence of working with somebody who has so much experience doing that.
Haydn: Oh, that’s nice — thanks! I think it’s relevant to just say what our specific backgrounds are. I come from playing classical music as a kid and growing up with that, but I also started making records when I was 20 — and I’ve made a bunch of them. I started scoring and being a part of other people’s teams as a player and singer, so I didn’t have experience in television. But I think that the production skills [of] record making has been [useful], and there’s a melodicism that I come to the table with as a violinist and singer.
But what Ben brings to the table, first of all, just his incredible virtuosity as a player and composer. He’s a really smart problem-solver and also has an incredible work ethic — [he] just knows how to get shit done. And his experience as a consummate composer’s assistant, as a person who just knows how [to] get from A to Z just expertly, and politically, I’ve learned a lot from him in that way in terms of how I approach things more as an artist and I will sometimes speak my mind when it’s not necessarily the best political move [smiles], so I’ve learned to [say] like, “Hey, Ben, are you cool with it if I say ‘x, y [and] z’?” and he’ll say, “Why don’t you just dial that back a little” [laughs].
But just on a musical tip, I think he’s just so fluid. He’s got a can-do attitude so that there’s nothing that can’t be done. And so it’s like the sky’s the limit and we can do anything together. It’s really fun.
Bromfield: I will just say that your “squeaky wheel-ness,” while that maybe at one point I thought was a liability, has also been a good influence on me because now I’m a little bit of a “squeaky-ier wheel.” Sometimes I have a tendency to be a little quiet and let things just go along. Now I’m a little more comfortable just generally asking for stuff, because if people say, no, it’s not the worst thing, and so being a squeaky wheel can be sometimes good, I think, being somebody who just says what they feel. I think I could use a little more of that. And so that’s also been a good influence. Thank you, Lili [laughs].
CHM: I’m gonna put you guys on the spot again — I don’t know who wants to take this first, but I like to ask composers this question because you guys know the work better than anybody, but if you had to describe your score in three or fewer words, what would they be?
Haydn: I’ll start with one word; I don’t wanna do all three, I wanna pick some wisely — quality over quantity [laughs] — eclectic.
Bromfield: I thought of that too — [that’s the] first thing I thought of. I’m trying to think if I can think of another one. Eclectic; see, that one makes it hard because I could say another one, but it only applies to some of the music, right? Is it weird for me to say female? I mean, I think that the female aspect of the show is an important thing in the music as well. Sometimes [it’s] signified by Lilly’s voice, the way we use it in the score. I dunno, it’s hard [laughs].
Haydn: I think about the role of feminism or the female gaze in the show — most of the creative team are women — and they wanted a female composer to be a part of it. I don’t think of myself as a woman composer — although I am on the board of the Alliance for Women Film Composers — but I think that what is relevant about that is that because this show is very much from a woman’s perspective, being a woman, I pick up on subtle emotional threads.
In college, I had an eating disorder [so] I know what that looks like and they’re dropping subtle hints in the show. So there are moments [that] I’m attuned to, certain dramatic moments that I might not be if I hadn’t lived it, and that allows me to have a sensitivity to certain things that allows me to bring a little bit more sensitivity in the music to that moment. I think maybe the word is sensitive as opposed to female. But it’s really about being sensitive to the female gaze.
I don’t know if you’re familiar with that concept of the female gaze, but so much of what we’ve been inundated with in our Western culture has been from a male perspective. So when you get something that’s done from a female perspective, it’s a different lens and they call that the female gaze.
Another word that I’m gonna steal this from Sarah Lampert. I think she once described “Georgia’s Theme,” which is the first or maybe the second track of our Season One soundtrack, is used throughout the show and it’s represented in the season two soundtrack with some sort of remixed versions. Anyway. Sarah once described that piece as sardonic — and I really like that. I don’t know if that applies to all the music, but I think it’s a great word. And I think that there’s a sardonic element to this show that is winking at you a little bit, and I like to think that our music is helping with that and has some of that same quality. So we can say eclectic, sensitive and sardonic.
Bromfield: I like those three.
CHM: There are parts where, to me, your score sounded more modern, like in the first episode — I think it might be even the first time your score comes in — and then there are other times where it’s more of a traditional, orchestral sound. I want to focus on that opening modern track and ask about composing that specific track because to me that sounded so unique.
Haydn: Is that the “Welcome Back Bitches”?
Haydn: Well that’s fun because we often divvy up the work, but there are times when we get in a room and just play and fun things happen. And that [“Welcome Back Bitches”] was one of those instances where we were in the room, playing with keyboards like two kids in a sandbox, really. So I’m glad you like that one.
I think what makes it unique is that we employ a lot of the pop elements of the song licenses that they use because we wanna keep the energy. It’s a modern show, so we need that aesthetic, but we also need to employ the kind of dark, more emotional elements and we also need to employ some of the more traditional scoring techniques. So this [“Welcome Back Bitches”], it’s [a] blend of all those things that turn into this kind of really interesting stew of sorts. And also the way that I use my voice, — without lyrics — I think also lends itself to having a sense of a pop hook without it actually being that, and then it becomes more like an instrument.
So I think it’s the eclecticism that helps it be unique and uniquely suited for this show, which is its own eclectic blend of influences. And what I love about the show and what I’m also really proud of with our score is how with all of its eclecticism, it’s cohesive. It could very easily be a hodgepodge of, okay, and now we’re gonna do this, and now we’re gonna do that, but it really feels cohesive and there really is a sound of show, which to me, doesn’t sound like other shows. even though obviously, we’re not creating in a vacuum and there are obviously other influences. But, to me, it sounds like our show, and the more television and film I consume, the more I can hear when somebody’s borrowing from another.
I don’t know if you know what temp music is, but where they put in a temporary piece of music to sort of mark the spot where they want music. a lot of times in television I know exactly what they temp with because it sounds like that show or that sounds like that, and to hear those elements, it doesn’t come together as cohesively. And I feel really happy about what we’ve created.
Bromfield: It really is like [an] instrumental song — it’s [in] a song form. When we get together, we like to make music like that for the show. You know, we did that one before season two, and then we sent it to them. We wrote it together as a thematic track to be used in season two, and then we all found a place for it together. And I think a lot of the stuff we did in that session was similar — it’s kind of like its own genre of pop music. It’s pop music-influenced and it’s song-influenced, but the fact that it centers around Lili’s voice doing more of “ooh” [vocalizes notes] thing, I think is part of what makes it unique in the pop music world.
CHM: You just mentioned that when you guys jammed together and made that song on keyboards. I know a lot of songs sprout from the keyboard or piano, but were there any unique instruments you guys used throughout this score at all?
Haydn: Actually, the keyboard we used on that song is a fancy new keyboard that I just got — it’s a Hydrosynth, which is a really fun synthesizer. Ben has a lot of great synthesizers and he’s like “Keyboard Guy,” but I had been lusting after this keyboard for a couple of years and somebody had told me like, “You have to get this.” And it has this ribbon controller where you can do this portamento thing; you can slide from really low to really high and it gets that kind of weird, like your stomach is turning inside out kind of vibe, which I love [laughs]. That was the keyboard on this track.
We also incorporate rock and roll stuff. We have some different instruments [I] play a lot of my string instruments and we do a lot of sound design as well. For some of the modern influences we pulled in a programmer friend of mine who works with Kesha and Kanye West and like some big pop artists [because] we wanted to have authentic beats. So we used a couple of those beats in the show.
There’s like an instrument in the upper register that’s sort of going and that’s like [volcalizes]… I forget what it’s called…
Haydn: Ribbon Controller.
Bromfield: Yeah. And then you can also hear it in the piece called “George’s Theme (Dark).” It’s happening with the bass in that one [and] it’s a very cool effect. And each time you get a synthesizer like that, they all have their individual quirks, and that’s one really cool quirk of the Hydrosynth. And other than the fact that the sounds and the effects on it are really cool, the Ribbon Controller is really neat and it’s a fun way to do that — not every synth can do that.
Haydn: It’s modeled after a classic synth from the seventies called the [Yamaha] CS-80, which I had the pleasure of working with on my first album, and then sound design where you’re basically messing [around when] you’re creating sounds, you’re recording yourself doing this kind of stuff and tapping on your face and scratching things.
[In] episode eight, where we did the musical, the episode [is] mostly in the style of the musical, which was sort of classical music-influenced. I got out my violin and started doing all my little classical tricks. But one of the cues was influenced by my cat, actually, who’s not going to meow on cue, unfortunately, but she does meow [on cue] a little bit. She’s kept her little “Pixar kitten meow,” and you can hear that in one of the cues. I just did a little reel on my Instagram if you wanna hear it. It’s on the soundtrack also called “Max and Bracia Backstage” — please check it out.
CHM: Since you both live in LA that makes it a bit easier — I know some co-composers I’ve spoken to were in separate areas of the world, so that made it a little harder — but I was curious what the day-to-day kind of thing looks like. Were you guys always working together or were you guys, you know, separately and then collaborating over Google Drives and stuff like that?
Bromfield: [Are] you familiar with the [concept of a] spotting session? [It’s] the meeting that we have with the showrunners, so when we first watched the show down and we figure out all the cues and we might use this one thing, or this might be a licensed song or whatever, and then we’ll figure out how much music we need to write and what scene.
So from there, Lili and I will typically divide it up and we’ll each take a first pass separately in our own studios. Also, I should mention, we started working on this show right when the pandemic broke out. So season one, we didn’t get together at all—
Haydn: We had one session together!
Bromfield: Before COVID, yeah.
Haydn: It was like pre-COVID and then before our next session, he said, “You know, I don’t think we should be in the same room anymore [laughs]; we probably should isolate.” So, yeah, we only had one session, but that one session was very fruitful.
Bromfield: Yeah, we got our company cue out of that session that gets used all the time and reused all over the score. But yeah, we generally work in different places, but also it’s funny to mention that we work at different times. Lilli is a total night owl, and I’m typically — if things are going right — up at 7:30 trying to work out and then start my day and in bed by like 11 or 12, she’s working all night. And so that sort of signifies our yin and yang-ness that we have. I think with our creative approaches as well.
We didn’t have to do this much with season two. Season one was, I think, a bit more hectic, mostly because of COVID, [and] if we got something that we had to turn around [or] we got notes back at the last minute, she [Lili] probably was gonna be up anyway, so that that kind of works. There’s obviously all sorts of stuff going on in the morning and I’m willing to do that.
So we work in different places, [and] we sometimes work at different times, but we do work on the same pieces of music because we send stuff back and forth to each other. We’re both working in Pro Tools as Lili mentioned, and we’re on Dropbox. We don’t share any videos on Dropbox because we’re all very careful with that. But what we do is we’re sending a Pro Tool testing back and forth, forth, and we’re adding stuff to each other’s cues. Typically, we’ll both try and complete a cue as much as we can on our own and then send it to the other person to add stuff. And then they might send it back. And then a lot of the time with the music before it gets approved, we end up having a live session over Zoom with the creators.
This is a thing that I’m usually driving at this point — it’s usually on my rig. We’re all in on this session and I’m sharing the screen and Lili and I are solving problems in real time. It’s challenging but very fun and we make great music that way.
Haydn: But it would not be possible if Ben weren’t such a rockstar on the technical side of it as well. Without each of our skillset sets, this would not be possible. It’s a unique show to the show’s credit, the show creator Sarah Lampert, has a vision and also Debra [J. Fisher], her partner, both have a vision. But Sarah, in particular, has an exacting nature and she doesn’t stop until she gets exactly what she wants. I have the same exact kind of OCD as her [laughs] — that’s why I step out often because like I don’t stop until I’ve exhausted every possibility and however long it takes.
It can be challenging because we know that we’re not gonna be settling for anything less than something that is magical. And the funny thing is, we’ll be watching — I don’t know if you have this experience, Ben — we watched it, my husband and I, and cues that are you can barely hear, they’re almost subliminal [and] like, yeah, that took us a week.
Bromfield: I can relate to that, sure [smiles].
Haydn: We do wanna just talk about the musical before we all part ways, of course. The musical was really important this season and it’s really kind of a subplot [that is] mirroring and representing character evolution and character development and the relationships that are in the plot.
Ben and I have different backgrounds that allowed us to do that. Ben’s musical theater background and my songwriting background, as a recording artist, and the confluence of that really just lent itself to something that we’re both really proud of.
The second season of Ginny & Georgia is streaming on Netflix.
Florian Zeller Talks The Son and the Interesting Way Hugh Jackman Landed His Part | Interview
Father, Son… Mother? Florian Zeller discusses his new film, ‘The Son.’
In my family, a good metric to measure how good a film was is how quickly me or my dad — the physical media buyers in the family — purchase it when it hits shelves months after its theatrical run. If we liked the film, the time ranges usually vary between immidetly upon release, wait a few months in hopes of Target or Best Buy putting it on sale, or the classic “wait until Black Friday” strategy (if it’s Criterion, we wait until July or November). But as our collections have grown and wallets have emptied, buying new releases — no matter how much we loved them — upon release is a rarity.
The one to buck the trend was The Father, Florian Zeller‘s first film adaptation out of the trilogy of his plays — The Mother, The Father and The Son. While I enjoyed it personally, the film hit way too close to home with my own grandmother who had dementia similar to Anthony Hopkins‘ character. That grandmother was my father’s mother, and despite my own belief that it’d hit even closer to home, he enjoyed it and made an effort to buy it once it went on sale.
All of that is to say, The Father is held in such high regard in my family. The Son will hold a special place in my heart as the casting of Vanessa Kirby was one of the first news pieces I wrote for the first outlet I interned at, so it feels like this film has come full circle for me. That’s why it was such an honor to speak with Zeller ahead of the nationwide release of The Son. I picked his brain on adapting his stageplays for the big screen while also finding out the interesting way Jackman landed his role. Oh, and I finally got clarification on the continuity of Hopkins’ characters in The Father and The Son (which has bothered me since seeing The Son).
Coastal House Media: I just wanted to start by talking about how out of your plays/films that I’ve seen, they’ve talked about such human emotions and situations. For example, The Father was very relatable for me because my grandmother had dementia towards the end of her life and it was hard to watch as a result, but it felt so real. So I was just curious if your plays/films are born out of experiences that are personal to you.
Florian Zeller: I would say yes. I don’t know how it could be something else than personal, but it doesn’t mean that these [are] my stories, you know? It means that [these are] emotions that I’m familiar with — territories that I’m no stranger to. When I did The Father — as you said, it’s about dementia — I knew a bit [about] what it was to go through this kind of process and to be in a position when you want to help someone and you cannot do it because I [was] raised by my grandmother and she got dementia when I was 15 or something. But when I was writing the script, I was not really thinking about her; I was thinking about emotions that I knew, and for The Son [as well].
The Son is about [a] father trying to help his teenage son going through depression. And again, it’s coming from a personal place, but I very quickly realized that so many people are concerned by this kind of situation, so many people have experience as [a] father or as [a] mother, you know when you are in a position where you do not know what to do anymore to help your son or your daughter or anyone else, and it was the reason why I wanted to make a film. I mean, it’s not enough to want to tell your own story to make a film, it’s because you wanna share emotions and you feel like you could be relevant for everyone to share these emotions.
CHM: And from a more technical standpoint, I’m curious about what it’s like for you to get to adapt your plays. Of course, you have more space to work and you can show more than just what you’re limited to on a stage, so do you ever feel like with either The Father and/or The Son that your plays get to be even more realized or explored through that medium?
Zeller: No. Just to shoot a play is not very challenging and it’s not very meaningful, so you have to find a way to find a cinematic language that would add something, you know? And for The Father, the conviction started like that, whereas the idea that [something] on-screen could be done that couldn’t be done on stage. And it was about trying to create this very subjective experience for the audience, to really experience what it could mean to lose your own bearings and as if you were in the main character’s brain, somehow.
And for The Son, I also felt that there was a reason to do it on screen, but it was a completely different strategy and it was not about trying to put you in the main character’s brain. My intention was to tell that story from the parent’s perspective — those who are around someone who is suffering and they do not know [what] to do to help. They have questions that they have no answers [for]. They are trying to open the door to help, but they have no keys, in a way. And because I really wanted for the audience to experience this feeling of being important because I know that there [is] so much shame and so much guilt and so much ignorance on this topic that I really wanted to raise these questions and to open a conversation — and my way to do that was to make that film.
CHM: I haven’t seen the play version of The Son, but I was curious because The Father, the film, felt like a play because most of it takes place in Anthony Hopkins’ character’s apartment whereas The Son jumps a little bit in scale. A lot of it still takes place in Peter [Hugh Jackman]’s apartment, but was this jump in scale similar to the play at all?
Zeller: I mean, it [was a] decision, but every story requires something different. When you started thinking about adapting a play into a film, the first advice you get is always to try to write new scenes outdoors to go as far as possible from the stage and most of the time, it’s probably good advice. But this is not what I did in The Father, because I really wanted to use the set as an abstract lab where you would be lost as an audience.
And if I had written a single scene outdoors, it would’ve broken this convention. So it had nothing to do with theatre, it has to do with cinema [and] the idea of being in an apartment and to use the apartment as a way to tell the story of being lost. And for The Son, I wanted to have something more straightforward, very linear and as simple as possible and try [not] to do a gimmick about that topic (depression) but to try to dare to be very simple in order to reflect my approach, which was to try to face this pain without shying away and also without trying to explain it or without trying to justify it. That’s the difficult and slightly uncomfortable thing about it.
There is no simple explanation about why sometimes you are in pain, and it takes a lot of courage to accept [that] there is no meaning, no justification when you’re going through such a pain [and] you need someone or something to blame for because it’s unfair when you see that it looks so easy for everybody and for you, everything is so difficult.
And in [this] story (The Son), this is divorce. The characters are talking a lot about the divorce and Nicholas [feels as though] this is because my parents got divorced and the father feels so guilty that he feels maybe [it’s] all my fault. But that’s not my perspective. To me, there [are] so many layers, psychological, but also chemical, biological reasons why you can feel in pain. So it was not to try to simplify things to say [that] because of divorce, it could lead to this situation.
It would make no sense, for example, to blame anyone for having a heart issue or stomach issue — and I think it’s the same for mental [health] issues. It makes no sense to blame anyone for experiencing this pain. And the more we could see mental health issues as we see physical issues, meaning without guilt, the more we could help people to go through these kinds of situations.
CHM: You have a lot of established names and a younger actor as well in The Son — can you talk to me about the casting process for this film?
Zeller: Yeah, the casting process started with Anthony Hopkins. We did The Father together and it was such an emotional experience, to do a film together, [that] I really wanted to see him again. Also, just after The Father, there was COVID and so we hadn’t seen each other for two years or something, and so when I finished the script, he was the very first one who read it and he told me, “Okay, I really want to be part of it.”
And I was really happy about it because I do adore him and also, so many people came to me after The Father saying, “Is he okay?” as if he was going through dementia. And I was like, “Yeah, he is. He is in great shape. He’s just an extraordinary actor,” so it was funny for us to do the exact opposite because in The Son he’s so cruel. He is not losing the situation, he’s controlling the situation so well.
And then I’m starting [to] dream about the cast and that’s all I knew about it. It was Anthony involved and that’s it. And I received that letter from Hugh Jackman. This is unconventional, but this is how it happened: He knew the play, The Son, he knew that I was working on the adaptation [and] he knew The Father. And so he wrote this letter to me saying, “If you’re already in conversation with someone, please forget my letter. But if you’re not, I would love to have 10 minutes to let you know why I should be the one to do this part.”
And of course, when you receive this kind of letter, you wanna meet that person because it’s really something special for an actor to be brave and honest enough and humble enough to do this. And when we met, we talked a lot about many things, but it’s not something he said; it’s more something I felt about who he is. The fact that he was not trying to be this actor looking for a part, or he was not detracted by the performance that could be done here, it was just a man, you know? And I felt that he was as a father and as connected to that issue that he knew what it was about. He knew these emotions and that it would be the opportunity for us, through the camera, to allow himself to be himself and to try to reach something that was truthful and honest. And that’s something very difficult to do, I think, for an actor. And I was really impressed during the shooting to see him daring [and] exploring all the time the true emotions that he has in himself. And I think that’s why, in my opinion, his performance is so honest.
CHM: I’m running low on time with you, but this question has been bothering me since I saw the film, so I gotta ask you of all people given that this is your baby. So I had heard that The Son is a “prequel” to The Father, but this confused me with Anthony Hopkins’ characters. I know in The Son he’s in America, but I think in The Father, he’s in England. Can you just explain the continuity to me?
Zeller: To me it’s not a prequel. [They’re] not the same characters. It’s the same actor, but you’re right — One is American [and] one is British, so it’s already different. And what [is] meaningful to me is that to have similar stories that are not [with] the same characters, not the same stories, but somehow they are connected, you know? The themes and something [is] connected in between these stories, and so as a viewer, you have to question the connections, the conversation almost between these pieces, and I like what it brings to the table, meaning that as a viewer you have room to question the meaning of this.
For example, as a viewer, I remember that I really loved this Polish director Krzysztof Kieślowski, who did the [Three Colours] Red, White and Blue and it’s three different stories. They have nothing to do with each other, but it’s just you trying to understand the layers, the conversations, and that’s it. Nothing more. [They’re] different stories.
CHM: My last question for you is: Are you going to adapt The Mother and would Anthony Hopkins be a part of that?
Zeller: I dunno. I really don’t know [laughs]. We did The Mother in New York, on stage, right with Isabella Huppert, and she’s one of the greatest actresses — I love her very much. But I don’t know. I don’t know yet.
The Son was released for an awards-qualifying limited run on November 25 and will be released nationwide on January 20.
Sarah Booth Talks Three Pines | Interview
If you are a fan of investigative crime dramas, then look no further than Amazon Prime’s latest show Three Pines based upon the books of Louise Penny. We follow Chief Inspector Gamache investigating various cases across this small town in remote Quebec, unraveling Three Pines hidden past.
I sat down with Sarah Booth (Law and Order, Star Trek: Discovery) to talk about her character Yvette Nichol in the series Three Pines and how she became involved within this project as well as a possible teaser as what is to come in the rest of series 1.
Make sure to check out Three Pines streaming now on Amazon Prime with weekly episodes.
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