Earlier this year I had the opportunity to speak with composer Ilan Eshkeri about his work on the documentary series A Perfect Planet. This is my second interview with this composer, as we’d previously talked about his work on the hit video game Ghost of Tsushima. Eshkeri attended Leeds University, where he studied music and English literature. During this time he also worked with fellow film composers Edward Shearmur, Michael Kamen and music producer Steve McLaughlin. His extensive catalogue of film and TV scores include Still Alice, Stardust, The Young Victoria, Doctor Thorne, Shaun The Sheep and David Attenborough’s Natural History Museum Alive.

I hope you enjoy my conversation with Ilan Eshkeri about the music of this spectacular documentary.

Have you worked on documentaries like ‘A Perfect Planet’ before now?
Yes, this is my fourth collaboration with David Attenborough. What made me to work with him again was the focus of this series on climate which is an issue that is also close to my heart. Silverback, the production team making the programme were also very supportive of my creative approach so the which made the project creatively very satisfying as well as feeling like I was getting an important message out to the world. 

Is scoring a documentary like this very different from working on a film? Or is it mostly the same?
It’s quite different because you are writing 40 short films. You have a sequence about ants that’s a heist or a sequence about whales that’s a love story or a sequence about monkeys that’s about guarding territory and protecting family and so you have to think of each story on its own terms, they have their own completely new themes and instrumentation/sound-world, so it is much more work than writing a film score where you would have a handful of themes or motifs that you re-use. 

Where did you start with the scoring process for ‘A Perfect Planet’? I hear what sounds like a recurrent theme that reappears from time to time, but I wasn’t sure if it was a central or main theme or something else.
My writing process was varied because there were so many stories, I decided to take a hit and run approach… look at a scene and pick up a guitar and put an idea down and immediately move on to another scene pick up another instrument and so on… if I couldn’t come up with an idea immediately I’d leave it out, then I would go back around the whole episode again. 
You are right that there is a recurring theme. I’ve noticed that these kinds of shows tend to go from one piece of music to another without a musical anchor and I wanted to keep taking the audience back to a theme that represented the planet / Mother Nature. The theme comes at the beginning the end and in-between all the set animal sequences. Typically it has voices and piano, voices because it’s connected to nature and humanity and piano because it’s an instrument of the home and I wanted to reinforce the idea of the whole of our planet being collectively our home. 

So, this may be the same question over again but, how did the overall process for scoring this work? Were you given any guidelines for what each segment should sound like or was it pretty much a free rein? 
The film and TV making process always and has always used guide music, it helps the director producer and editor work out what kind of music they need, which can often inform how they’re going to cut the scene. For composers the guide music can be helpful too, music is very hard to describe in words so examples are useful. For a perfect planet I had a very set approach on how I wanted to approach the music and so after th first watch though I worked without reference to the guide in the first instance, and then there were a couple of times where we needed to refer back but not often. I am grateful to the team for supporting my process and believing in it. 

Did you have footage of the animals to watch while you worked or was it described in storyboards? 
I was brought on at an early stage before there was much to see so I could think about it early on but I did a lot of my recording to early clips so this way the music and the editing could evolve together 

How did you decide on which instruments to use for the different animals featured in ‘A Perfect Planet’?
We all have a sense of what is appropriate, there is an unspoken semiotic language that both film makers and audience are aware of, for example, a harp might seem an inappropriate choice for an elephant and a trombone might jar for a butterfly.  As a film maker and a composer you need to take these things into consideration, but rules are there to be broken!

How long did you have to work on the music? Was the process impacted by the pandemic at all?
I recorded the first 2 episodes before the pandemic but recording became very difficult. Orchestras couldn’t come together obviously, especially not wind and brass because of all the blowing. This meant that the post production process had to expand. I was able to put a small amount of strings together in Iceland and then brass and woodwinds individually in the player’s living rooms. It was extremely time consuming to prep, but fortunately the technology exists where we can place those recordings inside of digital acoustic spaces which meant we could make the recording sound very real. I also had to take these limitations into consideration in the writing. It was fortunate that I had taken a more contemporary approach, not straight symphonic, and I like to think that that creativity comes out of limitations, so I enjoyed the challenge. In the end my producer / engineer Steve McLaughlin made it all sound incredible and I think anyone would be hard pushed to tell the difference, It was just incredibly labour intensive.

Was it hard to write for any particular animal?
Yes, one scene in particular at the end of the sunlight episode where there was a huge feeding frenzy in the Ocean with birds, whales and fish, the music I had written was good but something about it was not quite right and the day before recording the director and I decided that to do something completely new it was incredibly difficult to write a 7 minute sequence to end an episode. It is such a short time whilst also prepping for the recording but somehow I managed to make it happen. 

I want to say thank you to Ilan Eshkeri for taking the time to speak with me about his work on A Perfect Planet.

I hope you enjoyed reading this interview and have a great day!

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