A groundbreaking score for ‘Saturday night’: Jon Batiste’s creative journey
Breaking from tradition: Jason Reitman’s vision
When envisioning the score for Saturday Night, director Jason Reitman sought a unique musical narrative, distant from the familiar tones of Saturday Night Live. Enter Jon Batiste, the multifaceted musician who embraced this challenge with enthusiasm.
“He wanted a pressure cooker of a score,” Batiste shares. “I interpreted that to mean an anti-score—something that defies conventional paradigms.”
The story behind ‘Saturday night’s’ tense clock
Set during a nerve-wracking 90 minutes on October 11, 1975, Saturday Night delves into the frenetic energy behind the inaugural broadcast of Saturday Night Live. Lorne Michaels, surrounded by an ensemble of young comedians and writers, is at the epicenter of this creative storm.
Jon Batiste not only composed the score but also portrays Billy Preston in the film, pulling double duty in Reitman’s ambitious project.
Breaking musical norms: The ‘anti-score’
Given free rein to innovate, Batiste thrived on creating an “anti-score”, a term describing a musical backdrop that eschews standard scoring techniques. “The villain of the film is the clock,” Batiste remarks. The music subtly narrates the inexorable ticking of time, heightening suspense and embodying the oppressive pressure the characters face.
At times, the score blends seamlessly with sound effects and dialogue. “It’s not typical, it’s unorthodox,” Batiste explains. “In some moments, the score becomes part of the sound design; in others, it takes precedence over dialogue, creating an intense auditory experience.”
A nod to vaudeville: Single-string instrumentation
In place of a full orchestra, Batiste opted for a single-string instrument, a tribute to the vaudeville era and the legendary Jack Benny. “I view SNL as the pinnacle of variety entertainment, akin to vaudeville,” he notes. This choice reinforces the film’s nostalgic element without overshadowing the narrative with a grandiose orchestral presence.
Crafting the ticking clock: Unique instrumentation
Creating a palpable sense of time’s passage, Batiste meticulously selected instruments to construct a distinctive ”ticking clock” soundscape. Percussion, a percussive fiddle, horn sections, and tap dance are woven into the score, each chosen for their cultural resonance with New York and early film soundscapes.
“These instruments reflect the cultural backdrop of New York and recreate the atmospheric sounds of an early SNL house band,” Batiste explains. “The combination harks back to the vaudeville era, enriching the narrative with layered auditory textures.”
Music as a character: Integrating score and storytelling
Batiste and Reitman envisioned the music as a character in itself, driving the narrative rather than merely augmenting it. “The music isn’t just there to heighten emotion—it is a character influencing the story,” Batiste asserts.
Living the role: Batiste as Billy Preston
Portraying Billy Preston, Batiste engaged deeply with historical material, including archival tapes and first-hand accounts, to authentically embody the character. “I had access to audience-perspective tapes and invaluable insights from cast members and extensive research done by Reitman,” Batiste reveals.
Carrying Preston’s spirit in the score
While directly influenced by Preston, Batiste also felt a spiritual connection, describing Preston as a “patron saint” of the score. “His spirit infused my recording and composition process, guiding the musical journey,” he says.
Immersion in the creative process
Batiste found immense joy in fully immersing himself in both acting and composing, blurring traditional boundaries. “I didn’t separate the tasks. Being simultaneously on set, acting, composing, and recording was immersive and invigorating,” Batiste reflects. “This real-time integration fostered an authenticity you can’t replicate, blending presence and creation flawlessly.”
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