Our latest feature for Popternative Magazine is with film composer and musician Martin Macphail from the group Blitz//Berlin who chats about the trio’s score for the horror comedy, Queens of the Dead which recently had its world premiere at the Tribeca Film Festival.
The film is set at a Brooklyn warehouse party boasting drag queens where partygoers must take on a sudden onslaught of flesh-eating zombies. Queens of the Dead is directed by first-time filmmaker Tina Romero, the daughter of horror icon George A. Romero, and stars Katy O’Brian, Jaquel Spivey, Nina West, Tomás Matos, Margaret Cho, Jack Haven, Cheyenne Jackson, and Riki Lindhome.
In our exclusive chat, Martin talks about the approach of composing a score for a unique film like this and some of the new learning experiences he took away from this project.
Exclusive photos for Popternative Magazine by Kathlyn Almeida
What were the first conversations like with the team in regards to the score for Queens of the Dead?
Martin Macpahil (MM): Right from the jump Tina [Romero] came to us with a clear vision and so much passion and energy for her story. Our first meeting was just instant creative fireworks honestly. We spoke the same language and began to write the score quite quickly.
What was something that excited you about this score?
MM: The most unique thing about the music notes in the script was a particular interpretation of Kesha’s “Blow”. I won’t spoil it, but it’s an incredible scene.
Poto: Kathlyn Almeida
What did you do differently with this score compared to others?
MM: The main sonic choice that sets this film apart is the combination of classic Romero zombie synths with unexpected approaches. We touch on 90s house, synthwave, and some more classic 70s tones too.
Poto: Kathlyn Almeida
Queens of the Dead is very colorful; did that come into play as well with the score?
MM: Definitely. One of the choices that distinguishes this film from other zombie movies is the color choices. The film is bright and blood-soaked and covered in glitter. We wanted our score to sound like that.
Poto: Kathlyn Almeida
What were some lessons you learned from composing the score for this film in particular?
MM: I think this film was a lesson in trusting our instincts and trusting our collaborators. We took some big swings with the score and they were (thankfully!) met with excitement. Thats a huge benefit of working with group of brilliant creative people – we felt encouraged to take risks. I think the result is a really fun and unique film.
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