#CINDERELLA SCREENIT SERIES#
I’ve learned a hell of a lot from him, so I did a lot of additional writing for him as well for projects like A Dog’s Way Home and The Addams Family, and then we co-scored a virtual reality series that’s going to come out called Into the Now, which is very, very cool. Through that, I got to know him, and I made it pretty clear early on that my goal was to be composing, and to continue to pursue that, and he heard me, and he really gave me a shot, and he took me under his wing. I was an assistant music editor to his main music editor on a film called Transcendence, which was directed by Wally Pfister, and a really cool movie. Weiss: I started working with Mychael in 2016, I believe. When did you start working with Mychael Danna, because you were working with or for him before actually composing with him, right? I also learned so much about the writing side and the creative side, so it was truly the best education a person could ever hope for working for him and working at that studio.īTL: There are so many composers out there that have gone the Hans Zimmer route. The beauty of being a music editor, especially at Remote Control, which is where I did that with Hans, I really learned so much about the business side of this industry. As a writer and as a musician, I was always pursuing writing music, even if my quote-unquote “day job” was as a music editor. Weiss: I think it’s always organic, because of my background as a songwriter. I’m not sure I’ve spoken to a composer that started out in engineering or music editing, was it just a very natural and organic transition to make music for what you were editing? That’s how it started to unfold for me, in terms of film and television composition.īTL: I’ve spoken to a few composers that have taken different paths. So, right after school, I got an assistant position with a wonderful composer in New York named Chris Hajian. I grew up in New York City, and I was always pursuing the arts, I was studying theater and doing a lot of singing and acting and dance and always enveloped in that world and also songwriting, and so, towards the end of college, I knew that music was going to be my main focus. I have definitely learned on the job through wonderful mentorships. I’ve always been playing instruments and studying music in that sense, but I didn’t go to a conservatory. Jessica Rose Weiss: I played piano and guitar growing up and took lessons, I was forced to take piano lessons, which of course, I hated as a kid. I know that you were a recording engineer for a while. Weiss over Zoom for the following interview:īelow the Line: Before we start talking about Cinderella, I’d love to know more about your background and how you got into composing. You can hear Weiss’ score with Danna on various streaming platforms, including Spotify and Tidal. This version of the classic fairy tale stars pop star Camilla Cabello as the title character with a cast filled out by the likes of Idina Menzel, Pierce Brosnan, Nicholas Galitzine, Minnie Driver, Billy Porter, and James Corden (who originated the idea for this particular incarnation of Cinderella ). Although one might think that a musical would involve a much larger contribution from its composers, Weiss and Danna basically filled in the gaps where necessary, in between the movie’s musical dance numbers. Recently, Weiss worked with Danna to compose the incidental score for Kay ( Pitch Perfect ) Cannon ’s musical, Cinderella, which is currently streaming on Amazon Prime Video. Jessica Rose Weiss is indeed relatively new to the world of film scoring, having started a mere five years ago, but she’s been a part of the music department as a music editor for far longer, allowing her to work with the likes of Oscar-winner Hans Zimmer and Mychael Danna, as she’s made her way into scoring her own projects. As much as we love to share interviews with veteran award-winning composers as part of this series, Below the Line also wants to use it to shine the spotlight on some of Hollywood’s newer blood of composers.
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