The wonderfully talented Dominic Mazzoni has signed on to be our composer for The Last Hurrah. And I am absolutely thrilled. Jay (editor) and I went to college with Dominic and have always known him as a great jazz composer. After school Dominic got a second degree, worked at JPL as a geologist, created the Audacity sound editing software, and now works for Google.
Scoring The Last Hurrah
I always envisioned The Last Hurrah to be a sort of Woody Allen movie for Generation Y. Like if Woody Allen were 25 and could somehow stand to live in Los Angeles. This is what I was aiming for anyway.
I love jazz. When I lived in Manhattan, I kept my food budget down to an insane twenty dollars a week (you don't believe me but this is true) so I could spend every free dollar I had going to The Vanguard, Birdland, The Blue Note, Iridium, Fez, St. Nicks, and of course, Smalls.
Jay and I scored a lot of Grant Green into The Last Hurrah's temp mix to simulate the lighthearted feel of a Woody Allen movie. I had a lot of discussion with the producers about whether jazz would be thematically appropriate for a movie about 20-something hipsters. In the end, I found that when we scored the movie with rock-and-roll it felt more like American Pie than Annie Hall. Jazz and comedy just go together like tomatoes and basil.
I didn't even attempt to negotiate with Blue Note for use of their musicians. Especially when we have a wunderkind like Dominic Mazzoni in our corner. He is amazing to work with.
To give a taste, Dominic composed the opening credit music as a jazz trio. And then brought back the same theme as a piano solo for the final scene in the movie. I love the bookends!