The Power of Scoring With Luke Colombero
Graphic by Lily Hartenstein
By Anne O’Leary
The genre of film scoring has been one that is rather under-appreciated by the general public. However, it is undeniable that a movie or television show would not be the same without the provided music to set tones, emotions, and themes. Meet 20-year-old Berklee College of Music student Luke Colombero, Luke has a passion for both music and film and is an aspiring film composer. While he is undeclared at the moment, he plans on majoring in Film and Media Scoring, as well as minoring in Microtonal Music, a type of music that uses interval tones that differ from your standard half steps on a scale. Originally from Aliso Viejo, California, Luke attended Emerson for his first two years of college before transferring to Berklee after he helped score a friend’s film and realized film scoring was his passion. Currently while being a student, he freelances as a scoring composer. He is also working on his upcoming progressive metal band, Roman Wilderness, attempting to help move the genre outside of traditional mainstream metal. Luke has a particular passion for incorporating progressions of genres as well as World music into his films and band. I sat down with Luke and asked him some questions about the two polarizing genres he is so fond of and how he plans on defying conventional genres while being an original artist.
Q: When did you become interested in scoring and making soundtracks?
A: Unconsciously I’ve been interested since I was 4 years old. My mom noted that every time we left the theater, I’d be singing the music from the films. I’d always have the music stuck in my head. But I guess when I really got into scoring, I had just seen the new Dune movie at the time and I felt like it was my life calling. The composer, Hans Zimmer’s, score for that was so original, it defied genre and he even created new instruments. I wanted to be able to break those rules but still have my own voice.
Q: What is the process like for making a soundtrack?
A: It depends on what the producers are looking for– most commonly, they will send me the picture-locked version and I can start scoring off of that. We send drafts back and forth and they always send me reference scores. They talk to me about moods, themes, and matching sequences. For example, on one film I scored for, Celluloid Dreams, I was sent a lot of Radiohead and other electronic music. When I am done, I send them a mastered version that is properly mixed and goes into the film.
Q: You have a progressive metal band in the works, can you tell me more about that?
A: So, progressive metal is basically meant to take the genre of metal and move it forward in areas it’s currently in. The term is kind of outdated in my opinion, but it tends to use odd time signatures or concepts that are outside of mainstream metal. Progressive metal takes the convention of metal and tries to break and move the genre forward. The band is named Roman Wilderness, which comes from a line from The Doors’ song “The End.” I used to go under that as a pseudonym in 2020, but I have now turned it into a band. I have been assembling members for the spring of 2023. We will hopefully create a concept album dealing with sociopolitical issues relevant to events in recent years in the United States in particular. I think the audience it reaches, will create a space to discuss those issues. I kind of want this music to be for “lost people '' and finding each other.
Q: Have you found any similarities between making soundtracks and playing metal music?
A: Absolutely. The thing is that when I’m writing for Roman Wilderness, my biggest inspiration is from film scores because I want to tell stories in my music. And then when I’m making my film scores, my biggest influences are progressive rock and metal. It’s really funny having that interplay between metal and scores.
Q: What’s your favorite part about creating music?
A: If it’s film scoring, it’s so rewarding that I get to create and be a part of a film. I get to show off, but I’m also supporting another person’s art. Music really brings a film together. With my own music outside of that, I like being able to express myself, my ideas, and my worldview. It’s just a chance to make music that is different. I just want to make music that isn’t really being made. Considering the music I listen to, like Frank Zappa, King Crimson, Javanese Gamelan, and black midi, it’s alienating music. It’s also great to play live or with friends for other people.
Q: Finally, what is your favorite soundtrack?
A: That is a tough question, but I would have to say in the soundtrack from Blade Runner, the composer of the film, Vangelis, was really able to use synth technology and classical instrumentation at the same time. His music serves the film and totally immerses us in this film which I think is what a soundtrack is supposed to do. And more importantly, you can see the music going on inside the character’s heads, which is what I try to do.
You can check out Luke’s upcoming projects on his website https://www.lukecolombero.com as well as his Instagrams: @actuallukecolombero and for Roman Wilderness: @roman_wilderness