There’s a classic sound to heist films — a little jazzy, a little stealthy, occasionally raucous — and composer Daniel Pemberton cleverly channels it in TheBadGuys: 'You get to be really bold: big breaks, big brass sections, big tunes and big grooves.'
“The film in some ways is an homage to classic caper movies,” says the English composer, “and it’s a world I really love playing in. You get to be really bold: big breaks, big brass sections, big tunes and big grooves.”
“The Bad Guys” contains Hammond organ, fuzz guitar, bongo drums, Moog synthesizer, which reference that period. But it’s also a very contemporary sound, with big beats, a full orchestra and a fast pace throughout. There’s never a dull moment in the film or the score. “I love to get the best performances I can out of people,” he says. “I might spend half a day recording a bass line. The more detail I can put on each performance, the better it can be,” although he also admits that “by the time the film’s finished you’re like, can anybody even hear this?”
He also wrote two songs, one of which is the focus of an early heist scene. “We had to have a song that could start as a distraction for the audience, then needed to turn into a message about how the audience needed to adjust their opinions about how they looked at people, then into a song that was so much fun, so infectious, that you couldn’t help but dance to it.”
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