Unlocking Melodic Marvels: Behind Brie Larson's Captivating Chemistry Composer & Beyond

Summary

Lessons in Chemistry is a new drama series on Apple TV+ that challenges gender roles in its 1950s setting through the character of Elizabeth Zott, played by Brie Larson.

Carlos Rafael Rivera, the Emmy award-winning composer, utilized a combination of traditional orchestration and synthesization to craft a captivating and immersive soundscape for the show.

Rivera drew inspiration from an array of sources, such as Journey, Rufus Wainwright, Billie Eilish, and Randy Newman, to compose character themes that authentically capture their individual personalities and life journeys. Collaborating closely with the showrunners, this musical partnership elevates the storytelling experience by seamlessly integrating music into the narrative.

Lessons in Chemistry, a new drama on Apple TV+, is created by Lee Eisenberg (known for his work on The Office and Little America) and directed by Sarah Adina Smith (known for directing Hanna). This series is based on Bonnie Garbus' debut novel of the same name, which was released in 2022. One of the reasons for its excitement is that it marks the return of Brie Larson to television. Lessons in Chemistry is particularly intriguing as it aims to challenge the gender roles of its 1950s setting through the perspective of Larson's character, Elizabeth Zott.

The musical score for Lessons in Chemistry is composed by the Emmy-winning Carlos Rafael Rivera. Rivera has previous experience in capturing the essence of the mid-20th century, having worked on acclaimed projects like The Queen's Gambit and Godless. As a protégé of the legendary film composer and songwriter Randy Newman, Rivera is also a respected teacher at the Frost School of Music at the University of Miami.

Related: Lessons In Chemistry Trailer: Brie Larson Stars In New Apple TV+ Show

In a recent conversation with Our website, Carlos Rafael Rivera delved into the immersive sonic landscape he intricately designed for Lessons in Chemistry, skillfully composing individual themes that capture the essence of its central characters, among other notable aspects. It should be noted that this interview took place amid the 2023 SAG-AFTRA strike, acknowledging the crucial contribution of the unionized actors without whom the mentioned show would not have come to fruition. To enhance readability and conciseness, this interview has undergone mild editing.

Carlos Rafael Rivera On Lessons In Chemistry

Our website: What specifically attracted you to this particular story? And how did you initially become involved with the project?

Carlos Rafael Rivera: I was approached primarily because of my work on The Queen's Gambit. When they first approached me, they noticed a connection between the characters, the time period, and my previous work. Initially, I composed music with classical guitar in a very traditional style, but it didn't blend well with the overall composition.

I am familiar with Sarah Adina Smith, the director of the initial episodes, who posed the question, "What if music could convey the concept of biogenesis? What should we do?" I responded by expressing my uncertainty, lacking any ideas. One of her suggestions was for me to listen to Aphex Twin and Boards of Canada—a completely different approach. As a result, I began crafting music that embodied the process of life creation, characterized by lively and synth-heavy elements.

This significantly influenced the score, even though it wasn't the intended direction. By exploring opposite ends of the spectrum, we arrived at a composition that centers around the piano, incorporates strings and traditional orchestral instruments, and integrates synthesizers. I envisioned the synthesizers producing glass-like and airy sounds reminiscent of a chemistry lab. The incorporation of a time-setting vibraphone seemed fitting. I utilized the marimba, as well as synthesizer sounds that contained glassy and energetic qualities. Without this experimentation, we wouldn't have arrived at the resulting direction—a captivating blend of conservative orchestration and synthesis that adds interest to the composition.

The Queen's Gambit is set in a similar era. Have you considered incorporating the time period into the musical aspect? It doesn't seem like it's a top priority for you, but I'm curious about how much it influences your thinking.

Carlos Rafael Rivera: I believe you're aware of the current context and are captivated by the visuals, set design, and the remarkable production values that are evident in the daily footage. Naturally, you want to compose music that matches and enhances what you're seeing. However, my focus is primarily on the characters themselves, transcending the time period. I consider their actions and challenges, and aim to present music in a way that seamlessly supports the narrative without being intrusive. The goal is to immerse you further into the story.

Are you someone who enjoys writing various themes and having abundant thematic material for your characters, or do you prefer to set limits on the extent of your work in that aspect?

Carlos Rafael Rivera: Personally, I have a great affinity for composing dramatic music. I find it to be the ultimate test of my skills. Throughout my upbringing, I was particularly drawn to the concept of creating captivating melodies. Every composer has their own set of strengths, and this is an area where I constantly push myself and find immense joy. Crafting melodies is truly my passion.

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Elizabeth Zott's life is filled with unexpected twists and turns, which inspired me to create a meandering storyline. The initial concept evolved into the main title, "Lessons in Chemistry," featured in the eighth episode's soundtrack. I wanted the music to capture the essence of Elizabeth's unpredictable journey.

Calvin, on the other hand, is the core of the story. Despite the fact that Elizabeth may not be immediately likable, Calvin and Elizabeth connect on a deep level. He helps her rediscover the warmth and compassion that she had hidden away due to past experiences. This theme truly embodies the heart of the entire story.

I admire your expertise in composing for string instruments. One piece that particularly impressed me was "The Remsen", where you skillfully portrayed each instrument's distinct voice. I'm curious, how do you manage to maintain their individual identities while ensuring they work harmoniously together?

Carlos Rafael Rivera: As a long-time educator at the Frost School of Music, teaching is a passion of mine that I don't intend to give up. It is my profession, and I derive immense satisfaction from it. When guiding my students in developing thematic ideas or crafting melodic lines, I often advise them to focus on a particular direction or style.

Most individuals typically compose a melody and chords for their idea, and they tend to follow that approach. Incorporating a motor or adding a motor to that concept without drums can be challenging at the beginning. Personally, as a member of a rock band, I remember questioning the absence of drums in an orchestra. They would explain that there is percussion, but it's not the same as a drum set.

I bring up these points because I believe that when you are writing and assigning roles to musicians, it is crucial for them to have a clear understanding of where they are headed. Even if it is the viola, not the violin, for instance, that is playing the melody, clarity is key. When someone is tasked with a particular role, it is important to ensure that whoever is performing the other part fully comprehends their role and its purpose. It's not just about fulfilling certain tasks, such as partially playing the melody and then transitioning to the bassline.

Performer dynamics should be taken into consideration. Background actors should not be given lead lines to avoid confusion among the audience about the person in charge. Each person has a specific role to play, and I always aim for clarity and purpose in my cues for all the musicians involved. This approach ultimately proves to be effective.

I appreciate that you mentioned this concept. However, if you listen closely, you will notice questions like, "What are the violas doing? What's the bass doing?" In my arrangements, I even consider the placement of the orchestra and piano. The piano part is not necessarily recorded to fill the entire stereo space; usually, I shift the piano melody to the left while placing the bass on the right. This division creates a choir-like effect, with high and low notes enhancing the overall sonic experience.

And that's just something extraordinary that I repeatedly find myself engaged in. It genuinely emerged from a desire to avoid being in the spotlight because that's where the dialogue resides. The middle ground is where the lead instrument, which is the actors' performances, always takes center stage. I intentionally remain on the sidelines, either to the left or right, allowing the dialogue to take the lead.

You mentioned discussing the synth and guitar approaches, but as someone with limited classical knowledge, some of the piano pieces in your score reminded me of Debussy. They had a similar quality of being sparse, beautiful, and melodic. Were these influences present in your work?

Carlos Rafael Rivera: I believe that all of these influences have played a role. Recently, I've been listening to a lot of music from the band Journey, despite it being considered old-fashioned. But, I can't deny that bands like Ozzy Osbourne and those from the '80s and '70s had an impact on me. Rufus Wainwright is another artist whose exceptional melodic skills have always captivated me. He remains one of the great melodists of our time. Even Billie Eilish's work, especially her recent tune for the Barbie film, created in collaboration with Finneas, shows that they're onto something beyond just fame. They have a unique quality that will endure. However, my influences extend all the way to the classical realm.

I have a stronger connection to music now due to having teenage kids who are heavily involved in it. I find myself drawn to various genres and styles without comparing them to anything specific. The theme for "Mad" is actually a tribute to my mentor, Randy Newman, whom I was mentored by for a period of time. We still keep in touch, and his musical style is something I have always admired and enjoyed.

The idea for this theme came about as a result of being a parent. When you have children, they turn out to be completely different individuals from yourself. Although you may see some similarities and characteristics, ultimately they are their own unique beings. I had composed melodies for Elizabeth and Calvin, but I wanted the music for "Mad" to stand apart, similar to how my kids are distinct from me. Stylistically, it might seem out of place in the show, but surprisingly, it worked. It blended well with the scenes and flowed seamlessly.

The approval of the showrunners, Lee and Natalie, is what truly matters. Working with them was an absolute delight. I thoroughly enjoyed receiving feedback from them, particularly when they questioned whether the music was too prominent. It was a concept I had never considered before, and it truly fascinated me.

Every session we had was filled with an abundance of notes. There were always revisions to be made, but they were absolutely worthwhile. I firmly believe that it enhanced the quality of the show. This is why I am so passionate about what I do - it's not just about composing and providing music, but about having a collaborative conversation and helping to convey a compelling story. It is an absolute privilege.

Are you most excited for people to see anything specific about the show once it's released?

Carlos Rafael Rivera: There were a few moments that I felt incredibly fortunate to compose music for. As a child, you always have those cheesy moments where you imagine what it would be like to write music for a particular person. One of the most significant moments in my life was scoring my first movie, A Walk Among the Tombstones, which starred Liam Neeson during his Taken era and after his success with other big films. There was a scene where he punched someone, and I wrote the music for it. It was such a cool moment for me.

I take pride in the cue titled "Best Alone" in the soundtrack. It may be simple, but it has a profound impact and complements the visuals perfectly. You can find it in episode seven, where its relevance to the scene becomes evident as you watch.

Additionally, there's a remarkable moment in chapter three where the immensely talented Brie Larson runs in slow motion. It was an incredible opportunity for me to compose music that enhances that powerful experience. It felt as though I had the privilege to score that scene, which was truly exhilarating.

About Lessons In Chemistry

One thing I hope the audience takes away is the relevance, greatness, and excellent storytelling of the story. Being a part of this production has made me immensely proud, and that is definitely one of the key takeaways for me: having the opportunity to be involved in this.

Taking place in the early 1950s, "Lessons in Chemistry" centers around Elizabeth Zott (portrayed by Larson), a woman with aspirations to become a scientist. However, her ambitions are stifled in a society dominated by men. Following her dismissal from the laboratory, Elizabeth reluctantly takes on a role as a host on a television cooking show. In this position, she seizes the opportunity to educate disregarded housewives, and even gains the attention of men who were previously disinterested, teaching them much more than just recipes.

Also check out our interview with showrunner Lee Eisenberg and director Sarah Adina Smith.

Lessons in Chemistry premieres on Apple TV+ on October 13th.