Catching Up With Rich Hill Composer Nathan Halpern
The job of a film critic is to, among other things, point to that which moves us in a film. On the one hand, the documentary Rich Hill (winner of the 2014 Sundance Film Festival Grand Jury Prize for Best Documentary) is made up of the kind of material that generally moves audiences—young kids who are victims of poverty and circumstance struggle in a small town filled with big problems. However, while compelling material is a great start, it is not enough to make a strong documentary. And with narratives like the ones directors Tracy Droz Tragos and Andrew Droz Palermo are presenting, it’s easy for a film like this to rely on a certain sentimentality.
The sound of the movie—which follows three young boys (Andrew, Harley, and Appachey) in the rural town of Rich Hill, Missouri—needed a particular nuance, and Nathan Halpern delivered. The Emmy-nominated composer created a deeply moving score (now available on Amazon and iTunes), with pieces like “Fourth of July,” “Night,” and “Halloween” working as a powerful backdrop to these unforgettable stories. Paste caught up with Halpern to talk Rich Hill, and the art of drawing out emotion with sound and silence.
Paste Magazine: It’s amazing to see all the different kinds of projects you’ve been involved with— ESPN’s Renee, and you worked on Marina Abramovi?’s The Artist Is Present. Can you talk a bit about what you did leading up to that? How did you get to this point in your career?
Nathan Halpern: I played in bands when I was a teenager, and we toured a lot in the States and in Europe. And I think I discovered my favorite directors around the same age that I was really getting into music—fourteen or fifteen. I followed Cronenberg, Polanski and the Coen Brothers with great interest. It never actually occurred to me to work in film. Then, in my twenties, I was writing music for a solo record, and I was doing solo performances in mental institutions—old standards and things like that. But playing for them was a very powerful experience.
Paste: I’m sure.
Halpern: Around that same time, I started scoring. There were a lot of elements from being in a band and the recording process—and being a songwriter—that wound up being very direct points of reference for scoring. All of the various tricks and techniques that I played around with as a teenager on my FourTrack ended up being relevant in some way.
As far as the translation to film, I think that emotional inspiration comes out of the film itself. So there are interesting parallels that I didn’t necessarily anticipate.
Paste: Rich Hill is such an amazing film and experience. Was there something specific that drew you to this project?
Halpern: It’s an incredibly beautiful film. We haven’t all necessarily had the same experiences as the boys, but a lot of what they’re going through and their emotions are universal. These are kids—they’re in their early teens. So we’re dealing with an innocence that they still have underneath all of this. We’re talking about hope—not the hope that the audience might have for them, but the hope they still have. And there’s loneliness. We can all remember being fourteen and wandering around alone somewhere, like some of the kids in the film, trying to make your own amusement. And it’s about love. So being able to express that in a musical context was just exciting.