Julio de Venegas, Torres, Stinson, and the DOC, each of whom brought their own unique vision to the songs that we worked on together. And then when we started talking about the songs themselves, I was really lucky to bring on a group of incredible collaborators. So, there was a very long period of time, many, many years where we talked and I wrote some pieces that might be in the film dance pieces. In a sense, it was thinking the way we thought about it was Carmen was really a touchstone almost like a starting point for a story that Benjamin was going to reimagine and then see where the music took us. And that was kind of the beginning of the process. I think from the very beginning, we were really on the same page about that.
I remember my first reaction to him was, there have been so many amazing adaptations of Carmen over the years and I said, ‘you know, if you really want to reimagine, and we really want to do something different, I don’t want to rearrange Bizet’s incredible work, I actually want to do a totally original score and I think we should have original songs as well’. I remember from our earliest conversations, we talked a little about, you know, if he was going to do a feature, what would it be? I was going back through my emails, and I found the email it was 10 years ago, he sent me an email that said, ‘I want to do Carmen, but I want it to be totally different’. Obviously, he’s such a phenomenal choreographer and he has many different talents.
I remember the first conversations we had together. I’ve been friends with Benjamin Millepied for a long time, I think we met about 14 or 15 years ago.
What was your first step in approaching Carmen? To celebrate the release of Carmen and to tie in to his work on the on air fourth season of Succession, Chris Connor spoke with renowned composer Nicholas Britell about re-interpreting Bizet’s ppera for the 2020s, how he approached the Star Wars universe with Andor, and how the score for Succession has evolved over the course of its four seasons.
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