Composer Craig Armstrong On The Importance Of Music And Culture In Scotland

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Craig Armstrong
Craig Armstrong

High-stakes romance, opulent parties and love confessions in the middle of the airport. You might not know his name, but you’ve likely heard and have been entranced by his work before. His name is Craig Armstrong, the composer behind films such as Romeo + Juliet, The Great Gatsby, Love, Actually, and most recently, The Critic starring Sir Ian McKellan.

On the heels of Mogwai’s release, a film that celebrates the power of independent music-making in Glasgow, the future of culture and arts in Scotland has become quite the talk of the country. Renowned for its rich history and vibrant artistic and culture-centred pursuits—from the magic of its Christmas market to the Edinburgh Fringe—Scotland is a must-visit destination for anyone involved or interested in the creative sphere. But questions over funding have made its place in the grander scheme of things somewhat uncertain. Enter Craig Armstrong—a Glasgow man with much to say on the matter: “For a country, there are many people abroad who get to know a country through their artists.”

Armstrong is a composer whose work is silently renowned. As an artist, he captures beautifully the atmosphere needed to elevate iconic scenes in films he has worked on. Picture this: Sam running desperately from airport security as he races through carpeted halls to make it to Joanna, jumping over fences just before she goes through the final gates of her flight. The high-energy and adrenaline-pumping scene of grand gestures in love and almost-misses, in the season of Christmas no less, are amped up by the surrounding orchestral score. That is Armstrong’s work. But Love, Actually is only one of the many highlights of his career. Armstrong is a Golden Globe, BAFTA and Grammy Award-winning composer whose talent extends far beyond just film scoring.

Armstrong always wanted to do music from a young age and learned piano through his aunt. At 18, he attended the Royal Academy of Music in London. His early career saw him work on a lot of stage productions, specifically at Glasgow’s Tron Theatre where he met actor and fellow Glaswegian, Peter Mullan. The latter asked Armstrong to write music for one of his short films, Close (1993). This led to further compositions for other fantastic directors such as Baz Luhrmann, Oliver Stone, and Phillip Noyce. Beyond screen and stage, Armstrong has also worked with musical artists like Massive Attack, U2, Tina Turner and Madonna. He also released solo records of his own, with his first called The Space Between Us in 1998.

The Great Gatsby (2013) © Warner Bros

In his cinematic work, one of the projects he feels the most connection to is The Great Gatsby (2013). Armstrong is a big fan of the book by F. Scott Fitzgerald, describing it as “a very sad story” and “quite a profound book”. With Luhrmann at the helm as director, the experience of scoring the film was wondrous. “I felt that it was a very beautiful film,” Armstrong says. “It was a very good, heartfelt film and I enjoyed working on it. The way it’s shot—Baz is such an amazing director that it gives you a lot to write to. And the orchestras played beautifully.”

Gatsby was the third in a series of collaborations with Luhrmann, following Romeo + Juliet (1996) and Moulin Rouge! (2001). Working with the director was quite an experience, particularly when he was able to watch the filming process. “Baz would film during the day. He had a studio in his house, and at night time he would come to hear what I was writing for the rushes that he’d done the day before. It’s interesting to see a film being filmed. I think it does sort of influence you,” he recalls.  “I think Baz likes the composer to be there to sort of get the atmosphere of the film. To soak up the actual zeitgeist of the whole process.”

Armstrong’s deep love and passion for music as an art form helps him continually adapt to the ever-changing landscape of film scoring. He claims that he doesn’t think he’ll retire, even if no one wants to listen to his music anymore. He believes that while people’s musical tastes change and instrumental and production trends can come and go, there will always be the fundamentals that stay the same. “A good piece of music connects with a film and by doing that, you connect with people emotionally. There are fundamental things that don’t change. People’s human spirit and aspirations don’t change much, and I think film music is the same. All you’re trying to do is communicate with an audience.”

This is why he finds the current state of funding for the arts in Scotland lamentable. “Culture, in general, is a thing that makes life worth living. It gives a lot of people hope and pleasure. There are lots and lots of things that are affecting music right now. Brexit was a disaster for musicians. Streaming has been a disaster for musicians. When people cut money for the arts, it’s very short-sighted.”

Armstrong is helping celebrate and uplift the arts this year with his attendance at the Glasgow Sonica Arts Festival. A series of his films with Luhrmann was shown at the Glasgow Film Theatre, with a live Q&A session at the end of the showing of The Great Gatsby. Other films of his screened throughout the festival were The Quiet American and Grammy Award Winner for Best Original Score, Ray. For more information, fun things to do at the festival and to help uplift the arts in Scotland, visit their website here.

Interview by Mae Trumata


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