Scoring “The Six Triple Eight”: A Conversation with Aaron Zigman
A consummate music creator, Aaron Zigman has spent the last 25 years establishing himself as a versatile film composer and an accomplished songwriter, arranger, and producer. With over 70 film scores to his credit, including box-office hits like The Notebook, Bridge to Terabithia, The Proposal, For Colored Girls, The Company Men, Wakefield and the Sex and The City motion pictures, Zigman’s reputation as a skilled composer and innovative collaborator has earned him a host of industry accolades, including an Emmy, American Prize in Orchestral Composition and twenty BMI awards. Beyond his work in film, Zigman has written, arranged, and produced hit albums for storied names like Christina Aguilera, Ray Charles, Natalie Cole, Phil Collins, Aretha Franklin, Quincy Jones, John Legend, Seal, Cary Simon, Sting, The Four Tops, Tina Turner, Dionne Warwick and many more.
Zigman’s latest project found him reuniting with filmmaker Tyler Perry, who he worked with on multiple films like Why Did I Get Married?, Meet the Browns, The Family That Preys, Madea’s Big Happy Family and others. Quite unlike any of Perry’s other ventures, this project, entitled The Six Triple Eight, is an inspiring period piece about the first and only Women’s Army Corps unit of color to serve overseas in WWII.
We spoke with Zigman on the eve of the film’s release to find out more about his work on this compelling film. Here’s what he had to say.
You’ve worked with Tyler Perry on several projects including For Colored Girls and A Jazzman’s Blues. The Six Triple Eight is your most recent collaboration. How did you get involved in the project? Can you tell us about your collaborative dynamic with Tyler Perry over the years?
I really have enjoyed the process of working together with Tyler Perry as I connect so much to his work.
For the most part, beginning with Why Did I Get Married? in 2007, Tyler Perry and I , along with music supervisor Joel C. High, editor Maysie Hoy, and music editor Johnny Caruso, we’ve worked on 13 films together. So, I think that working together on The Six Triple Eight seemed like a natural fit. It was a great symbiosis and still proved to be a great team on A Jazzman’s Blues, as well as on the film For Colored Girls. Tyler really trusts the creative process before he steps in to give his constructive comments.
The film tells the story of the Six Triple Eight - the first and only Women’s Army Corps unit of color during the Second World War. It’s an inspiring story about heroism in the face of adversity. How did that inspire your score? While the themes of the film are relevant and resonant with contemporary audiences, it is ultimately a period piece. As such, was the music of the WWII era a factor in your writing?
It was important for me to create a score that would support the story, and not overpower its primary purpose. I drew influence from Aaron Copeland and Samuel Barber, as well as the general sound of the Big Band era, but my approach was inspired by the emotional depth of the characters. Approaching this militaristically would have been too obvious. I wanted to showcase these amazing women with a score steeped in American elegance - elevated and brave.
There is a pivotal scene where the battalion gets off the ship and is immediately expected to march. Can you tell us about your writing process for that scene and what you wanted to portray musically?
This was the first cue I wrote! The power of the scene and its sheer awe is one of the most powerful cinematic moments in the film. The way it was shot when the soldiers come off of the ship is breathtaking and also for me has such an emotional impact. You see the subtle emotion of the British, relieved to have the allies in their corner.
Musically I was playing the resilience, determination, and regality of the Six Triple Eight to march after such an arduous journey across the Atlantic.
What’s your creative process? How do you approach the material and bring music to picture?
This score was orchestral, so I began on piano, where I sketch out themes. The piano essentially contains the whole orchestra, meaning it has every instrument’s range. Writing music for me is like an organized piece of improvisation. Once I have the basic idea, I can put it to paper and then evolve it over time. In a score containing colors beyond the orchestra, I start by collecting different kinds of sonic data and sounds to see how things will work together, but piano is my principal instrument.
What role has BMI played in your journey, thus far?
I started my career with BMI in the 80s and have always felt a deep sense of support from their team as well as the camaraderie BMI emphasizes to facilitate within our community.
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