Nathan Barr is a unique composer that tends to focus on horror titles, including Cabin Fever, Grindhouse, True Blood, and Hostel. Recently, Nathan was nominated for two Emmy Awards in the category of “Outstanding Original Main Title Theme Music” for The Americans and Hemlock Grove, and is the subject of our latest Q&A.
In this feature, Nathan tells us about his collaborations with Eli Roth, performing entire scores on his own, his work on True Blood, and owning a human bone trumpet from Tibet:
Congratulations on your recent Emmy nominations for Hemlock Grove and The Americans. What does it feel like to be nominated for not one, but two Emmys this year?
Nathan Barr: It feels great. I’m really proud to work on both shows, and to have received this kind of recognition feels amazing. It’s an honor to be nominated.
You frequently collaborate with Eli Roth on his projects. How did you two first meet and how involved is Eli when it comes to your work for on his projects? Do you have any future collaborations in the works?
Nathan Barr: Eli and I have now collaborated on six projects, including “Hemlock Grove.” Our first was “Cabin Fever,” which I landed in part because of my enormous horror DVD collection which he noticed walking into my studio for the first time. Eli knows and loves music and is very involved from start to finish. Because we both love the genre so much, there is not a lot of guesswork between us, rather just forward motion with Eli asking me to adjust cues here and there. I know we’ll continue to work together for a long time.
Not only do you compose, but you've also performed entire scores on your own. How do you go about taking on this challenge?
Nathan Barr: Performing my own scores is something I’m really proud of. I've been collecting rare instruments for a long time, and I feel that performing the score gives me an additional edge on creating a unique sound for myself because my own quirks as a player end up in the scores. My process basically involves pulling instruments out of my collection and improvising until something works. Once that pass is recorded, I move onto the next instrument.
I've been told that you own and play a human bone trumpet from Tibet. How did you acquire this and what projects have you used this trumpet on? What kind of reactions have you received from people that realize you're playing an instrument made of human bone?
Nathan Barr: I’ve had several brass players take a stab at creating something resembling music out of the bone trumpet, but at the end of the day it is more about a sound effect than something purely musical. I have used sounds created by it in "True Blood," and several of Eli’s films. Most people want to hold the trumpet once they have been told what it is – very few recoil from it!
You've been involved with True Blood from the beginning. What do you enjoy the most about working on that series?
Nathan Barr: "True Blood" continues to be one of my most rewarding musical experiences to date. In addition to being a fan of the show, the creative force behind it is a pleasure to work with. Alan Ball encouraged me to experiment in whatever way I saw fit on the pilot, and we very quickly discovered a unique sound that worked for the show. As the show has continued over six seasons, the world of characters and creatures has completely exploded, hence the need for an ever-changing score.
What horror movies and composers serve as an inspiration to you? What horror movie scores would you recommend our readers pay extra attention to?
Nathan Barr: One of my favorite horror scores of all time is Wojciech Kilar’s score to "Dracula," which continues to inspire me today.
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To learn more about Nathan Barr, visit his official website at:
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