Let’s face it: we take much of the music heard in movies for granted. With rare exceptions, it’s composed and put in place to complement the story and dialogue, not to overwhelm it.
MARIO GRIGOROV podcast excerpt: “I finished mixing Precious in New York City and I drove home to Connecticut. I have two kids; I’m happy to be home and I was going to make pancakes for them one morning. Natasha, my wife, dashed off to buy milk for the pancakes, five minutes away. By the time she came back with the milk, I was in the car with the electric piano, on my way back to New York, because (director) Lee Daniels called, completely crazed, frustrated. He wanted to fix a cue before the film was completely done. I called my wife on the phone and said, ‘I’m really sorry, but I’m driving back to New York…'”
Personally, I’m in awe of composers because to my eyes and ears, they speak a foreign language of notes, sharps and staffs that I will never be able to fathom. My son plays piano and guitar and has, on occasion, written his own short pieces for piano, and in never ceases to amazes me. It’s a talent he didn’t get from me, that’s for sure.
All of this is my way of saying how much I look forward to engaging today’s guest, Bulgarian-born pianist and film composer Mario Grigorov, in conversation. He is the composer behind the music heard in the topical—and award-winning—film Precious, Based on the Novel Push by Sapphire.