Eye On Horror
Eye On Horror
Wrestling Aliens With Composer Andrew Gordon Macpherson
This episode, the boys say no to drugs with Cocaine Bear and tease a little about Scream VI (minisode with spoilers out now!), Jacob goes hard with Cinematic Void, Correia Reviews Nocebo on Shudder, Jay review's Corman's World, before picking the brain of Prestigious Wrestling Composer Andrew Gordon Macpherson, the man behind the sound of Dark Side of the Ring, Tales from The Territories, The Ranger, Far Cry games, and the new thrilling Sci-Fi joy ride: KIDS VS. ALIENS! It's all new on EYE ON HORROR!
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Welcome to Eye On Horror the official podcast of iHorror.com. This is episode 102, Otherwise known as season six, episode 3. I'm your host James Jay Edwards and with me as always is your other host Jacob Davison, how you doing Jacob?
Jacob Davidson:Doing good. Happy to be here and very excited to talk about all the movies I have been watching.
James Jay Edwards:There are some good ones that we've got on deck here. Also with us, as always, is your other other host Jon Correia How you doing Correia?
Jonathan Correia:Doing good. struggling a little bit as I just had a spicy peanut butter and jelly sandwich. I didn't know spicy peanut butter was a thing that the peanut butter was spicy. I guess there's like some spicy in it. It's not like it's not like super spicy. It's just I kind of forgot that it was spicy peanut butter. And now it's like, like my mouths not on fire. But like, you know the sinuses are going so if I sound nasally I'm not sick. I just had spicy peanut butter.
James Jay Edwards:Before we get started. Let's discuss the Oscars because we just we were talking about the Ocsars. They actually happened. I know. Good now, but um, and here's the big the big news is Laurie Strode and Short Round both have Oscars.
Jacob Davidson:Good for them.
James Jay Edwards:BOOM! Yes. I honestly thought the Banshees of Inisherin was going to do what Everything Everywhere All at Once did and I thought they were going to run the table. The only thing that kept Everything Everywhere All at Once from taking the Big Five is they didn't have a leading male performance. They cleaned up
Jacob Davidson:and that one went to
James Jay Edwards:that went to Brendan Fraser
Jacob Davidson:Rick O'Connell themself from The Mummy, Brendan Fraser Yes.
James Jay Edwards:Which I am absolutely stoked because
Jacob Davidson:Good for him
James Jay Edwards:No, I'm absolutely stoked about that because his performance in The Whale was incredible. And I'm glad that I've heard a lot of people saying it was all makeup it's like well no, he gave that performance in spite of the makeup he basically acted with his eyes and and actually his makeup team won the Oscar for makeup too
Jacob Davidson:and and also the it had a very special guest star with Cocaine Bear presenting with Elizabeth Banks.
James Jay Edwards:Yes, they brought up Cocaine Bear with Elizabeth Banks.
Jonathan Correia:And I can't wait till next next Oscars when Cocaine Bear comes out to accept, you know, the awards for Best Picture.
James Jay Edwards:Yeah, well, let's talk about Cocaine Bear. That's a great transition because we're the kings of transition. Okay, what do you guys think of Cocaine Bear?
Jacob Davidson:I thought it was fun. I really I really enjoyed it.
James Jay Edwards:I think right now, as of March 14, Cocaine Bear is my favorite movie.
Jacob Davidson:But ya know, I really dug it because it did feel kind of like a throwback to the you know, those kind of old school Animal Attacks movies, especially the ones by William Gertler, like Grizzly and Day Of the Animals and all that, because it's like, yeah, Cocaine Bears the focus. But also you got like this kind of ensemble cast of characters and these interweaving plots of like the cocaine and, and of course, esteamed character, actress, Margo Martindale as the kind of not not so great. Park Ranger.
Jonathan Correia:She was brilliant.
James Jay Edwards:The cast was brilliant. The ensemble was amazing. And this is the scene that they are getting hell for because basically a couple of preteen kids how they might they might be like, 13 they do cocaine, but they do it wrong.
Jacob Davidson:Yeah, they eat the cocaine because they think that's how you do cocaine.
James Jay Edwards:Yeah, the boy is trying to act all cool. I've done it before. How do you do it? Ya eat it.
Jacob Davidson:Yeah, no, I mean, and that and even then, it just showed them being stupid. And yeah, I mean, I've seen some like panic articles be like, Oh, Cocaine Bear endorses cocaine. And it's like, no, no, no, kids do cocaine or like they eat cocaine and they just feel terrible for it and it tastes bad and Cocaine Bear is fucked up because cocaine bear does cocaine and fucks that bear up
Jonathan Correia:if anything, it's the ultimate and probably most effective campaign for anti drugs because that's basically saying like drugs are bad look what it did to this bear. And also that bear really only attacked people that were involved with the cocaine right like yeah, like most of the people who were attacked, had cocaine on them or in them and stuff and are
Jacob Davidson:like attacking attacking them for the Coke, attacking them for the cocaine. One of
James Jay Edwards:my favorite bits was was after the one victim that he kills now this might even be in the trailer now. I'm trying not to spoil too much. He kills a guy and there's cocaine on him. So he does a rail off his leg.
Jacob Davidson:That's in the trailer.
James Jay Edwards:It's great is that I don't watch trailer. Trailer trailerable moment. That's why I thought maybe
Jonathan Correia:yeah, that Two things that I appreciate the most about Cocaine Bear is a first of all, it's directed by Elizabeth Banks who has been working for decades now and got her start and like has built her career on comedy. But one of the first comedy she was in was Wet Hot American Summer, and the movie opens with the exact same song that went Hot American Summer opens with. So for me that felt like a full circle moment like this was her saying, like, I'm doing a comedy now I'm doing my thing. And taking everything I've learned. And its beautiful
James Jay Edwards:my favorite thing at the beginning of Cocaine Bear was it gives you a stat, and I forget what it is, but it's some stat about cocaine or something. And then the source is Wikipedia.
Jacob Davidson:Yeah. Oh, and also how they do the opening of the movie with like, a montage of all those, like, really over the top anti drug PSAs like this, your brain on drugs and fuckin Pee Wee Herman holding a vial of crack.
Jonathan Correia:Yeah. And the other thing I really appreciats about it is the fact that there are so many characters in it, and they casted them all perfectly. And every single one of them had a story. It wasn't just like a generic thing. And the stories that each have, like everyone has a storyline like that you could essentially have like a short film of just what they're going through with their shit. And it's so fleshed out, and just almost unnecessarily so very flushed out all the storylines that have nothing to do with cocaine or the bear. And it's amazing because of it, like you have stuff like, I think one of the policemen has like a dog that he didn't want, like, you want to go adopt a dog, but he didn't like the dog that he got. And then like, as the movie progresses, it shows like, no, he's fallen in love with that dog. And it's just like, why are we spending so much time on this? Like, I'm happy that we're doing it. It's it kept blowing my mind. I'm like, we just spent five minutes on another fucking subplot.
James Jay Edwards:He called it up the adoption place. You know, there's been some kind of mistake, I thought I was gonna get one of these Labrador man's best friend type. And he got this foofy little princess.
Jacob Davidson:It was a little pink bow.
Jonathan Correia:It's so good.
James Jay Edwards:It was it's funny because it's a surprisingly well written movie for being about a bear on cocaine. Cuz trust me, that title is not a metaphor. It is about bear on cocaine.
Jonathan Correia:No. And that's the thing too. It's very well made very well acted all these character plots, but it delivers on the premise of a bear, like, literally delivers
Jacob Davidson:a bear in cocaine doing what you would expect a bear on cocaine to do. Yep.
James Jay Edwards:It's, it doesn't pretend to be anything else. But the thing is, like you said, the subplots, and also, I don't want to spoil too much about it. But there's a parallel between the main character the Keri Russell character and the bear that is made evident. It's just a really cleverly written movie. And it's clever when it has to be and it's stupid when it has to be so Oh, it's my favorite movie of the year so far.
Jacob Davidson:Yeah. And the subplots really did pay off and had really good casting. Like I would be remiss if we didn't mention Ray Liotta, as like the southern crime boss who lost cocaine, so he sends his goons into the forest to get them.
Jonathan Correia:Let me tell you, Ray Liotta went out with some of his best performances these last years. Like I just finally watched Many Saints of Newark. He was phenomenal in that. And I just watched Black Bird on Apple TV, which is a phenomenal miniseries, I highly recommend it but Ray Liotta and that was insanely like powerful performance and then just finished Black beard-bird go into Cocaine Bear and he gives us amazing comedic performances just like God damn, Ray Liotta was one of the best,
James Jay Edwards:but he's not trying to be what he probably is trying to be comedic, but it's so effortless that he plays the role straight. Yeah, but because of how it's written, it comes off as comedic. It's, oh, it's, The more we talk about it, the higher it's climbing. It might be one right now.
Jacob Davidson:Yeah, I mean, I just love that they do that like opening kind of prime meeting at a Chucky Cheese. Yeah,
James Jay Edwards:because his grandson is there
Jonathan Correia:was just out that whole bar scene when O'Shea Jackson meets with him and the guys just sitting there and he's just like eating pasta. I was losing it because I'm like, what is up with that pasta? There's nothing on that fucking pasta. But then O'Shea's like can I get this? What's it I just like? There's nothing there's nothing. It's again, it's those little details that make this movie work. So well.
James Jay Edwards:We're going to be the kings or transitions here because Cocaine Bear was written by Samira Weaving's husband. And another thing we saw Star Samara Weaving Scream 6
Jacob Davidson:Yeah, by Radio Silence fequent collaborators with Samara Weaver
James Jay Edwards:and we don't want to talk too much about scream six. Because first of all, if you talk too much about it, you spoil it. And second, we're going to do a minisode in which we're going to spoil the crap out of it. So
Jonathan Correia:yeah, if you want to hear more, yeah,
James Jay Edwards:if you have seen it, and or you don't mind it being spoiled, go to our minisode but otherwise, what do you guys think? Just broad strokes.
Jacob Davidson:I really liked it. Yeah, no, I thought it was good. And it finally did what some Many other horror franchises did and failed to deliver on Ghostface takes Manhattan. Yeah,
James Jay Edwards:it went to New York. I, I liked it that there's one thing I'm a little disappointed on. And I'll elaborate on this in the minisode, which may posting before this episode, but I thought it was a little too safe. And I'll explain what that means in the minisode. Because it's hard to do it without spoiling, but
Jonathan Correia:I'm probably gonna fight you on that.
James Jay Edwards:Well, okay, then we
Jacob Davidson:Hold it guys, we got to save it for later saving for the ring.
James Jay Edwards:did exactly the thing. The thing is it it is, like you said it pretty much delivers. I think it was a smart choice to set it on Halloween. Because that because also because ghost face is such a phenomenon in that universe. It made it hard to figure out who the real ghost face was because people are dressing as ghosts based on Halloween.
Jonathan Correia:And I did like to that point how they had in the thing. You know, very early on in the movie, they're like, oh, because of the recent killings. You know, Halloween stores are selling out at Ghostface masks. That is how people react to shit. Like, oh, there was a lot of like, really good parallels there. And the
James Jay Edwards:All the people who wanted to be Ted Bundy for Halloween, and the Internet the Internet kind of turned on them. It's like I'll do Do not be Ted Bundy for Halloween. You're not clever.
Jacob Davidson:Yeah, no, they really nailed that kind of phenomenon of you know, does it there's a controversy or there's like something really terrible one year like a lot of people are going to dress up it is Halloween. Like remember when everybody dressed up as Tiger King for Halloween? Right when that happened? Yeah.
James Jay Edwards:Yeah, well, that's just the fun costume I think
Jonathan Correia:Scream 6 really delivered on all the thrills a it was fresh. It still did. Like the spirit of Craven was there but it was definitely Radio Silence's film and I gotta say surprisingly, is if not the funniest, the second funniest screen movie, like I was laughing so hard at so many points.
Jacob Davidson:So many great gags,
Jonathan Correia:and I want to talk about it so much more, but we'll save it for the minisode.
James Jay Edwards:We will, Yeah, we'll talk about it. So what else you guys have been watching?
Jacob Davidson:Um, well, I had a hell of a weekend specifically with Cinematic Void on two fronts. Firstly, for March, so Cinematic Void decided to do a march movie madness series a screening so every Monday they're doing a different horror movie set in around movie theaters. So the week before they did Joe Dante's Matinee with Joe Dante in person and I had to say that's still probably one of my all time favorite coming of age movies. I just really love John Goodman as the kind of William Castle type guy and you know, the Mant! stuffs a lot of fun. And yesterday they did one of my favorite kind of meta slashers Popcorn starring the great Jill Schoelen who was also there for q&a. And again, it's this is a genius premise. You know, like slasher, this kind of like Phantom of the Opera type guy is going around killing people with props from these Bali who old movies at a horror movie marathon. I just I love it so much. It's just wild that it's set in or was filmed in Jamaica. So it's got like a reggae soundtrack, but it actually kind of works. If you guys see Mattinee or Popcorn?
Jonathan Correia:Oh, of course, love Matinee and Popcorn is a lot of fun. We actually have a theatrical sized poster for popcorn in our apartment. And
Jacob Davidson:yeah, and also the poster I think is what really sold it for a lot of people because it has one of the greatest horror movie taglines ever "buy a bag, go home in a box" and and Cinematic Void. They had their seventh anniversary so there was the Cinematic Void Seven Deadly Sins marathon last Saturday where they played seven different movies on 35 millimeter from the history of the series. And those movies were the Warriors, Beyond the Darkness, Halloween 3: Season of the Witch in superscope, The Funhouse Tobe Hooper's Funhouse in superscope too, then grain Clark's Joysticks, for Chuck Norris his birthday that day, Silent Rage where Chuck Norris fights a kind of knockoff Michael Myers type guy. And they ended with one of the most bonkers Italian zombie moves of them all. Burial Ground
Jonathan Correia:Burial Grounds dope. Yeah,
Jacob Davidson:no, that creepy little kid just is just such a creepy little kid. And aren't they? It was also fun because Deanna Rooney was there and she always does characters for Cinematic Void's shows. So she was like, dressed up as like a Giallo black glove killer and she was actually Michael from Burial Ground. And yeah, so a lot of good bits. And you know, just it's always one of my favorite film series programs in LA. So I'm really glad I was able to be a part of, you know, kind of a salute to that and that's still going and having wild kickass screenings Yadier.
Jonathan Correia:I've been a I've been hitting the TV watching Real hard since I've been funemployed. You know, watching a lot of Star Trek Picard watching a lot of Apple TV that is, as I said, I watch Black Bird, which if you ever watch that it's Taron Egerton or Edrington, the guy from Rocketman and Kingsman and all that and he plays like, like a like a drug dealer who gets put in jail, and he's given a ticket out of jail. If he can, like befriend a serial killer and get him to confess to murderers. And it's hard hitting Ray Liotta plays his father, amazing performance is really good. We also finally finished watching See with Jason Momoa, which we're into post apocalyptic worlds with great world building See is incredible. But I also had been in the Shudder, and I watched Have you guys heard of Nocebo?
Jacob Davidson:I've heard of it. I think it's on my watch list. I just haven't watched it yet.
Jonathan Correia:Oh, definitely check it out. It's from the director who did Vivarium about a year or so ago, the one with Jesse Eisenberg.
Jacob Davidson:Oh, yeah.
Jonathan Correia:This one is it's Eva Green. And she plays a fashion designer who hires a nanny from the Philippines to assist caring for her family. Because she's getting she's gotten really sick. She's basically got Lyme disease from a tick, although they don't outright say it, which is very frustrating. So whole time, you know, people are like gaslighting and being like, Oh, well, you it's just in your head. It's just because you're guilty. And it's like, I'm sitting there going, No, this is all the signs of Lyme disease. Fuck, have you not seen The Punk Singer? Come on. But if you as the movie goes on, you find out that the nanny is actually connected to why she's sick. And it deals with the themes of and critiques on fast fashion culture, and how a lot of fashion that's coming out that goes out to like Target and all those places are made via like horrible sweat shops and slave labor and stuff of that nature. And it's really, it's really gnarly. There's some really great performances. I really I had a lot of fun with it. But the ending is very gnarly. You're in for a rough time, especially if you grew up around areas where ticks are prevalent. The bits with the ticks are not fun at all. They're very squeamish. So ya Nocebo it's playing on Shudder right now. So highly recommend it.
James Jay Edwards:One thing that I dug into that just want to mention real quick because it's hilarious is I saw a documentary called Corman's World. Either you guys seen this?
Jacob Davidson:Have? Not yet but it's about Roger Corman.
James Jay Edwards:It's exactly what you think it is. Yeah, it's a documentary about Corman, but it's funny because they talk to everybody Jack Nicholson has a surprisingly big interview and and he's there all time. And the funniest part to me, and it was they go to Ron Howard who did Grand Theft Auto for Corman. And, and at one point, there's a demolition derby in the movie, and Ron Howard goes to a Corman and he says, Hey, we need more extras for this, you know, because they only like 75 Extra is supposed to be this huge demolition derby and they needed more, and Corman wouldn't go for it. And they were getting to this discussion about it. And Ron Howard's telling the story. He says, he says And finally at one point, Roger put his arm around me and said, Look, Ron, you make this movie. If it does, well, you never have to work for me again. That is just such a one. That's the Corman film school. In a nutshell, if you make one good movie for Corman
Jonathan Correia:I love watching documentaries about people and figures and moments like that. And Corman is one of the coolest because if you do look at his catalogue, it really was a go hard fit, you know, hands on film school for a lot of big filmmakers. And I'm I was so happy to see Nicholson in there because Nicholson was in a bunch of Corman films before he took off and even like, if you look into like the history of The Terror,
James Jay Edwards:but he also does an awesome story about how he basically didn't really screw him out of it. But he kind of tricked Corman out of a percentage of Easy Rider because he wanted to be paid more than scale to write something for Corman and corpsman says, Okay, I'll give you a scale plus five bucks. And the next thing that Nicholson did was Easy Rider, and he's found some loophole to basically take Corman off of that as a producer that would have made him a ton of money. Because it was Easy Fricking Rider. At one point, Nicholson is reduced to tears talking about Corman. I mean, it's a really genuine, honest, I mean, he loves the guy. And a lot of people say that a lot of people are like, Look, if Roger Corman calls we're there, you know, it's just it was a really sweet, you know, community film movie,
Jonathan Correia:which it's just so good to see. And I see that a lot in doing tropes go into Troma things and stuff. You see the families that are built around this, these fast paced indie film things because at the end of the day, when you're making anything you spend so much time with me with these people. But when you're when you're doing it for even cheaper and doing it even quicker, you really have to trust and get to get along. Otherwise it's going to be 1000 times worse. So it's Yeah, Corman's World is great watch. It's very educational and lots a lot of fun. As you guys know, a couple episodes ago, we had John Campopiano on and he hinted and talked a bit about how he was working on a short film called Snapper, which was about the unmade snapping killer snapping turtle movie from the guys who made Attack of the Killer re- Refrigerator. Well, Terror Vision finally put out that blu ray for Attack of the Killer Refrigerator, and it's loaded with a lot of special features from those filmmakers, including Snapper and that that's probably the most I've spent on a short film because I was like I like I will eventually watch Attack of the of the Killer Refrigerator but Snapper was why for a 30 minute doc he gets so much information because it's it's a fascinating thing, because these guys had a bit of success with the two previous movies. So they're like, oh, yeah, we'll be able to do this. And they invested a lot of money into making a a trailer you know, as as like a selling point for Snapper. And it just didn't go anywhere. Which was very interesting. Like they built animatronics, they built the Snapper. And they go into great detail about the limitations of what they were able to do with what little budge they had. But man, what a fun piece of of cinema and you can you can feel the love from John and the other filmmakers as they're talking to them about it. And, man, it's really cool. If you're do if you're a fan of like, low budget DIY shot for as little as possible, because that's all they have type of cinema. Get the Attack of the Killer Refrigerator, Blu Ray, it's, it's with Terror Vision right now. And the special features are so much fun, even if you're not like the biggest fan of that style. Like the features are great. And just learning how they did this and why and like all that there. It's really cool. What do you think, Jacob?
Jacob Davidson:Yeah, well, it is always interesting to watch documentaries about movies that never were movies never got off the ground. And I would say I would like to live in the universe where Massachusetts had its own giant killer snapping turtle movie.
Jonathan Correia:I mean, a great world to live in.
Jacob Davidson:It really would.
James Jay Edwards:And now we're joined by a very special guest. It's Andrew Gordon McPherson. I say that right?
Andrew Gordon McPherson:Yeah, although the joke the joke I make is there's no fear and Macpherson's.
James Jay Edwards:Oh, nice. Andrew Gordon McPherson.
Andrew Gordon McPherson:Yeah, but that might just be my Canadian accent. I actually have no problem with McPherson. McPherson is actually like it's more like my Treehouse of Horror like title.
James Jay Edwards:With an F E A. Yeah.
Andrew Gordon McPherson:For all my horror films. I should get them to like all uppercase FEAR.
James Jay Edwards:Yeah, that would be great. Andrew is the composer of among other things, the score for Jacob's favorite Kids vs. Aliens.
Jacob Davidson:YEEEEAAAAAHHHHH!!!!
James Jay Edwards:If you've been listening, you heard Jacob rave about that. And
Jacob Davidson:Hell yeah I have
James Jay Edwards:Correia and I actually caught up with it. And he's right. It's a pretty fun little, little alien invasion movie.
Andrew Gordon McPherson:Thanks, guys. It was a blast to work on. Hopefully as much as it was to watch.
Jacob Davidson:It sure was.
James Jay Edwards:Let's start with the question. I always like to start with the Peoples, How did you get your start? I mean, as a musician. How, I mean, did you start playing in bands? Or how did you get your start as a composer?
Andrew Gordon McPherson:Yeah, I mean, this is there's a long sort of runway to this but long the short of it is I played in crappy bands and I went to film school.
James Jay Edwards:You know, you're speaking my language. That's me.
Jonathan Correia:I was about to say, is this your biography or Jay's? No, no crappy bands.
Andrew Gordon McPherson:Sorry, the band's weren't crappy, I was crappy. No, I got I got super. I got super inspired as a lot of people do, who grew up in small towns of like, punk and DIY and all that sort of stuff. And I was I always loved movies. But movies were on this like, upper echelon of like, it's like the Mount Olympus of like, where stuff comes from like I never thought I would like get into making movies until really like my the my last year of high school. I think I saw Aronofsky's Pi. And I was really into like black and white photography and electronic music and and all this stuff. I really thought I was going to like, get into like, I was going to try and like be a comic book artists that played like bass in a punk band. But then I like discovered sort of American independent cinema. And I was like, oh, there's a way I could like do All of these things in some sort of fashion. And so I like switch gears really fast and I like went to community college for for what it was called Screen Arts, which is where I met Jason Eisner, actually. This is in 2002, 2003. And so I was I was really like into music production and like playing bands and but I didn't really think of it as like my career path is just like my, just something I was passionate about and just learning a lot about. But there was like transferable transferable skills to like, I ended up doing sound for a lot of the student films I was working on and ended up doing a little bit of music here and there. And I was like, started to get more into like, producing for other people perusing a little bit of hip hop's artists, a bit of electronic artists as well as like, playing bass in the punk band. And it was just kind of a long, like, I mean, I was, uh, I worked as a picture editor And while I said post assistant, and an assistant editor, then a picture editor for a long time, like 10-15 years while and in the midst of that I had some sort of minor success in the music industry as well doing like, doing tours and, and producing and eventually, like, I was doing a bit of music for picture all along. But it wasn't until, I guess, about five or six years ago that it just became my full time thing. And it all made sense. And actually just like, felt like, I feel like I can kind of do the scoring thing better than I could have was doing any of those other things like it was just like every everything coalesced. So it was yeah, it's a really long, long story short, while I said that at the beginning, crappy punk band and then went to film school, but
James Jay Edwards:I feel like I lived your long story because aside from the success part that you've had, but the punk bands to film school, yeah. How did you get into to the horror scene? Was it all through Jason Eisner, or did you have other connections? Well,
Andrew Gordon McPherson:in the most visible baahh, I guess not because my, my partner wrote and directed a short called And They Watched, which I edited and scored, which was really the first short that I actually no it wasn't the first sort of scoring it was the first horror short I I scored in earnest. And that got licensed by the Fun Size Horror people. And it was and I think it went in the collection at Alamo so it like plays in the intro, not in the intermissions but like you know how they have the random Pre show reel, thank you. So I we
Jacob Davidson:The pre show reel don't have Alamo here. So the I go there. Like, it's been years since I've gone because of pandemic things. But anyway, yeah. So that was the first sort of horror thing that I did that like, you know, it did the festival run. And then it was part of Fun Size Horror that anthology. And then I did the I did the Far Cry DLC, the Dead Living Zombies one and which, yeah, video game. And it was the concept of which was like, there was six or seven levels, I think. And each one was basically like, there's kind of like this sort of B-movie director type guy who's like pitching different executives on different types of horror films he wants to make, and then you play this first person shooter game in this and each one is a different style of horror. So I got to kind of cut my teeth on like, doing a sort of John Williams, Close Encounters type of like video games score, and then doing like a cart, John Carpenter style and doing a Holy Mountain style doing like, and just just like, you know, kind of like, do a pastiche of everything. And then yeah, and then i i Actually reunited with Jason because he was editing a film called Goon: Last of the Enforcers, the hockey movie?
James Jay Edwards:Oh, yeah.
Jonathan Correia:Big fan of Goon
James Jay Edwards:I love those Goon movies. Yeah. So
Andrew Gordon McPherson:Jason Eisner was a was the main editor on that and I was his assistant. And now that happened was he was living in Nova Scotia. I was here in Toronto. And Jason, like just put a message on Facebook. Like I haven't needed an assistant editor for a feature in Toronto. Let me know if you guys know anybody who's good and at the time I was working I had a full time job at a post house as an editor. And I was like, hey man, I know lots of assistant editors I can help you out let me know the project I can find you a good fit and he's like it's Goon 2 The Last of the Enforcers with its directorial debut of Jay Baruchel. You know, I want to find someone cool because we're gonna like cut it in his house and I was like, I I want to do that. And I love Jason I already had, like, I love Jason We knew each other for years, right? And I quit my full time job, and went and jumped on that movie. And it was, it was, it ended up being a good move for a lot of reasons, not least of which was the posts house like closed, six months later, like went out of business like later. And the movie, the posts on the movie went for, like 11 months. So worked out that way. But, but now me and Jay and Jason just like worked a lot in his house on a lot on that movie. But um, you know, at the time, Jason, Jason had to duck out for a while to he directed second unit on Adam Wingard's Death Note. And so we got to, like, we got to, like, sort of, you know, be around while Jason and Adam were working on that a little bit. But there's all that stuff. And then Jason was pitching other movies and I was like, kind of giving him little bits of music cues and, and I got involved I like worked a little bit with the composers on Goon just from an editorial side, but also like, you know, helping out in some other ways because I did have a recording studio in Toronto at the time. And and yeah, and then Jays next movie after that was Random Acts of Violence, which is a movie the Shudder movie, and he asked me if I would edit it and CO scored and and so, you know, that was my sort of moat that was up to that point, the most like sort of major body of work I did in the sort of horror space. I don't like horror space. Sounds like I'm talking about some kind of tech incubators. And they've been but like, as far as like, horror stuff goes like that was a significant chunk of work both on the editing and the music side. So So yeah, and then you know, from from there, there's Kids Vs. Aliens and Dark Side of the Ring, and both of which are heavily influenced by horror and, and I did a couple of otherr features. I did The Ranger, I worked on the Ranger and Spare Parts
Jacob Davidson:I love that move
Jonathan Correia:Just about to bring up The Ranger because I was like, oh, man, punk rock background that must have been a dream come true. Get again, getting to do composing with like a movie that was so heavily involved with like punks, and, you know, anti establishment, or what have you.
Andrew Gordon McPherson:Yeah, so that was the first full feature that I worked on as a composer and I co scored it with, with Wade McNeil who was involved in the music on Goon. And, I mean, he's, he's like, his bread and butter is sort of like the punk stuff. I was more on the music production side at that point. But someone, someone asked him to be involved on that. And then he I think he wanted my help to kind of get through the, the sort of technical aspects of it, but there was also a lot of like, you know, there's synth stuff in there, which is sort of mine more like my lane, I guess. And and so that was the first thing that we we did together and it was the first first feature I did in the first horror feature. I did I guess,
Jacob Davidson:nice and off of your scores. I was going to ask, what would you say were some of your influences working as a composer scoring movies? Oh,
Andrew Gordon McPherson:wow. I mean, from like, my, the, I can't remember which was first but the first three movies I saw were Ghostbusters one and two and Batman 89. So in the in the theater, and this is when I'm really young. I mean, I'm born 84 Batman 89 is 89 I think Ghostbusters came out the year I was born and Ghostbusters two is 87 Or maybe or maybe a bit later. But I like to say that like like the number one record. The day I was born was Prince Purple Rain, and the number one movie was Ghostbusters, and I feel like that is the center of my my like Venn diagram.
Jacob Davidson:And Prince did the music for Batman. So it all connects. Yeah, exactly.
Andrew Gordon McPherson:Like, like spooky funk. Like, so. So yeah, I have a very high reverence for Danny Elfman and did like you know and going forward from there, and I mean, Nightmare Before Christmas. Edward Scissorhands and on and on. And you know, the Elmer Bernstein score on Ghostbusters, of course. I mean, both of which are huge influences on Kids Vs. Aliens. But but those are my earliest like, the first film music that I loved and and then maybe, maybe a little bit like Teenage Mutant Ninja Turtles film the film a few years later, but
Jonathan Correia:that's great to hear for me personally, because the live action TMNT movie was such A big thing for me like I love Yeah, I need those deep cuts brought up more.
Andrew Gordon McPherson:There's that cue i the name of it escapes me with that cue that plays when. So Raphael is on the on the roof and the Foot Clan attack and they throw him through. And then the like the antique shop catches fire and there's this cue that this is specifically the cue where like this cue is, is like, fundamental to like what I do now I feel like it is so ingrained in like, what I think works with picture. It's it's kind of I think it's in a weird time, but like, I think it's in like seven eight times even sure. And it's like, but it's this arpeggiated thing and but and it's got like the these kind of big sort of digital drum hits and and I can't think of the name of it off the top my head but that cue especially from Teenage Mutant Ninja Turtles, but um, but you know that the all of that stuff is phenomenal. But like I had no, I had no like misconception that I could do what like I could do those like, I couldn't make that at that for most of my life. Like, you know, I was like, you know, Danny Elfman is like, probably like the most prolific artist who's ever lived possibly like, and when you're talking about like, over, I mean, I think Hans Zimmer technically has more, more credits, but like, I feel like, I don't want to, I don't want to I think he's got a lot of assistance and a lot of people that want to helpers. And
James Jay Edwards:yeah, Zimmer does, he has a staff
Andrew Gordon McPherson:And I think like Danny Elfman, like, I feel like, he like gets his hands in the slime of every note of an end. So if you're talking about a guy who's like, if there's 30, to 60, Q's and a feature film, and he's done 150 films. Anyway, I'm on a tangent about Danny Elfman. But like, the the thing was, like, I never thought I I, my music theory is really poor. Again, I come from a like, very DIY, DIY, like sort of film music background, or sorry, very DIY music background, I'm mostly self taught, I took some piano lessons, I quit, I hated them. You know, I took music in high school, I hated it. And but it was then like when I rediscovered sort of American independent cinema, the Clint Mansell score on Pi, which was like very electronic, and sort of homemade in ways. And I'm seeing how that worked in the new idiom of sort of independent American films at the time. And then going back, and like, once I got into synthesizers, and programming synthesizers, and music production, you know, heavily into Tangerine Dream, and John Carpenter, and you know, these, these sort of, like, man in a basement with a tape machine and two keyboards and a drum machine scores and, and, and it became something that was like, within, like, you know, for my first 15 years of working in the film industry, I was like, Yeah, I can, I can make records, but I'm not a film composer, like, I can't, I can't write you. At that time. I was like, I can't write you a string arrangement or something like that. But I can do like a really dope, like, you know, drum machine and three synthesizers score if you want that. And I just got really good and hone my skills that like, being a great music producer, and, you know, like making records that had impact and, and my story skills were bolstering through all my years of film school and hanging out with the likes of Jason Eisner, and Jay Baruchel and, and so I think that it all just coalesced to like, okay, now I need to, like, fill out the rest of my skills. And like, you know, learn how to write a string arrangement and learn how to write a brass arrangement. And, and so that's, that's been more of the journey in the last, like, you know, half decade or more.
James Jay Edwards:That brings up kind of my question that I've been wondering. Basically, since I figured out that you also did the music for Dark Side of the Ring that the series the vise series, what is your process like because your scores like you said, they're not real orchestral it almost sounds like like a guy in his basement with three synthesizer drum machine. I mean, it is do you prefer writing that way just by your by yourself? Or would you rather conduct an orchestra if given the opportunity?
Andrew Gordon McPherson:I mean, I Yeah, it's
James Jay Edwards:I think that sound told me my answer.
Andrew Gordon McPherson:First of all, I love like, I love going in the basement and making music with a synthesizer like I will do that till the day I die like my my when I'm 90. I'll have a prophet five next to my deathbed with Linndrum and I'll be fiddling with like, I have a compulsion to do stuff like that. And I love it because it is Like, on it, it's like, unrestrained, like I know, like to get 60 musicians in a room and that, you know, has enough recording firepower to actually record them and do it justice. And it's, you know, there's a barrier of entry to that. Financially, obviously, now we did it with Kids Vs. Aliens, but I, but I, like I love I love the like, I love them both, but they're, they're different. You know, they're, they're so different like, because one one is like drawing in your, like, drawing in your sketchbook and, you know, one is is like putting on an art show. Like, like, and they're both like, very gratifying in different ways. And, and I like when I was really when I was really young, I wanted to be a comic book artist. And I studied comic book artists. And I remember there was like this interview with Frank Miller, like drew Batman and Daredevil, and wrote Batman and Daredevil, and he later wrote Robocop 2 the film and he go directed part of Sin City, which is based on a book he did blah, blah, blah. Anyway, his like, he had like, a quote about comic books about like, why, like, why are comic books so like, crude or whatever. And he's like, there's an energy that comes from having to deliver 22 pages a month, or something like that, that you don't get from any other art form where people are meticulously to be like, you just you need to get it out. But there is like, an energy you get off the page from that. And there's, like, with Dark Side of the Ring, there's like, I do an episode a week. Which is a, which is 20 to 35 ish minutes of original music every week, from the start until the end, and I only get a break, like, if they need a break and editing. So it's like, it's very it like, it's very regimented. And it's very like, like, it's, it's, it pushes, like to push myself to the like, I gotta fill that sketchbook kind of thing. Like, like, before the clock tick, like runs out every time, you know what I mean?
James Jay Edwards:And that's you in the, in the, in your basement or in your studio, right? I mean, all that Dark Side of the Ring stuff sounds like, it's like Carpenter's kind of synth stuff. There's no orchestra for that. Right? It sounds like there might be live drums use a band, sometimes
Andrew Gordon McPherson:I play like, it's it is all me. There are like neoclassical elements where there'll be like, sort of Philip Glass asks like little string quartet parts, but it was like the I think the original sort of inspiration for that was very much Philip glasses score on Thin Blue Line, but but to sort of, like marry that with the Tangerine Dream, John Carpenter 80's cinema feel. And, but I'm like, I'm doing that the sort of like neoclassical bits with whatever tools I can, whether it's bowing my guitars, or using sort of sample based instruments or, and yeah, and then I play some percussion, and I play. I play bass and guitar and acoustic guitar, and I have, I don't know, lots of other weird little stuff that goes into it, but it's yeah, the production of it is all at my house. Well, my house now my, my, I've moved out of my studio into my house,
James Jay Edwards:some of the Dark Side of the Ring stuff sounds like you're waiting for the vocals to kick in. As they sound like actual songs that are, you know, cranking along you know,
Andrew Gordon McPherson:I don't know if that I, I'm going to take that as a compliment.
James Jay Edwards:It is a compliment. It is,
Andrew Gordon McPherson:I, I, I think that I the way I write is from like, vocal first, I don't, I don't literally write a vocal for a song and then throw it out. But like, like, I think of the like key melody, and sort of like write, like, and I mean, I want it to be single, and like, have a hook and kind of, you know what I mean? And then and then I sort of build up the arrangement around that and and then I like the Dark Side, because it's like, there's a lot of interviews. It's like, tried to like leave enough space for the interviews to be heard and various degrees of success.
James Jay Edwards:So you're a songwriter more than a composer. I'm just busting your chops now.
Andrew Gordon McPherson:I want I mean, at the beginning of my like, film composer journey, I would agree with you 100% Because I had written way more songs, but at this point, I've written way more cues for film and television and video games than I've written pop songs. So
James Jay Edwards:Kids Vs. Aliens. That's a film score. That's not those aren't songs. But the dark side of the ring are songs. You know, almost I mean, they sound like I'm to me at least.
Andrew Gordon McPherson:Yeah, and the Tales from the Territories, which is kind of this the the sort of like, sister show of Dark Side of the Ring, which came out last year. A lot of that is like me trying to tap into 60s 70s 80s Pop type production. And and, you know, feel like the songs on the radio while they're like telling these kinds of road stories, I guess. So yeah, I mean, that that informs everything I do for sure.
Jonathan Correia:And how gotta ask is this Kids vs. Aliens is now the third project that's very wrestling heavy. And what is what is it like because Tales from the Dark Side, there's a lot of love for wrestling in that show,
Jacob Davidson:Dark Side of the Ring,
Jonathan Correia:or sorry, by Dark Side of the Ring. A lot of love for wrestling there, but it's about it's in the title. It's about the dark side. It's about you know, the not so fun parts of it, but the love is still there. So what is it like going from spending so much time in that? Showing that side of it to Kids Vs. Aliens where it's just pure? You know, that adolescent love for it?
Andrew Gordon McPherson:Yeah, like I keep joking that I'm gonna get business cards that say like Prestigious Wrestling Composer. But also then, like, prestigious wrestling composer like I like that need to like, I need to actually like join a wrestling promotion. Just to like go go all the way with it and like have a gimmick is like the Maestro and something
James Jay Edwards:didn't WWF back when they were WWF they had a guy who wrote all their entrance music
Andrew Gordon McPherson:Yeah, Jim Johnston
James Jay Edwards:Yeah, there you go. So
Andrew Gordon McPherson:he's the only he's the only more prestigious wrestling composer. At this point I maintain now he Yeah, his his musics huge inspiration to I think, especially everything Jason does for sure. Like, I mean, he's tempt in wrestling wrestlers, theme songs into edits, I'm sure like, like, he's very inspired by that stuff. And, and, you know, I am as well because it's like, that's, that's a move, or when I was growing up watching WWF at that time was like, that was a place where like, everyone had a theme song and like, like, where do you get a better like, education of like, when you hear the song, you know, what's coming, then wrestling where the lights go out? And you hear the bell? And it's like, oh, it's Undertaker, you don't even need like, like, and as I like, just fundamentals of scoring, it's just like, you can do that with every movie in some some format, you know what I mean? But going back to your question is like, yeah, like I, you know, with Dark Side of the Ring, especially, like, it's, it's often because there are these kind of the format's more of this sort of like prestige, documentary style. It's more about finding the storytelling of the characters, and then like teasing in what I can from their gimmicks, that is, like, tasteful in the like, you know, what is probably like, the harrowing story of behind the scenes, which is actually going on. And then with Kids vs. Aliens, Kids vs. Aliens, it's, it's, you know, hyping that up, because there's this meta sort of narrative of like, they have a, they have a movie, they're wrestling in a movie that's in the movie. And their movie is kind of also our movie. And so I don't think too hard too much. Like, like, about Ed says wrestling is just, it's in the tapestry of me growing up. And you know, I was a fan for a long time. And then I got more interested in buying records and, and sort of other forms of pop culture at some point, and then came back around when I had to become a Prestigious Wrestling Composer.
Jacob Davidson:And focusing on Kids Vs. Aliens. We're wondering, When did Jason Eisener approached you about the project and what was your your strategy in making the score for
Andrew Gordon McPherson:Yes. So I was working on Dark Side it? season three, and it was just about wrapping up I think, and and he was like, yeah, here I got the script. And I didn't know much about it. I knew I like I knew. So it's sort of it's based on short, that he did as part of V/H/S/2, which is a slumber party alien abduction, which is an amazing found footage.
James Jay Edwards:dog cam hahaha
Andrew Gordon McPherson:the infamous dog cam. And so I knew they were they wanted to adapt that. And I love that film huge fan of that film. So obviously I just I love working with Jason. So it's just like 100%. Let's do it. Yeah. So he sent me a script. At the end, I had no idea the timeline was I thought it was just like, this is close to a first draft or like, like, it was very early in their process. But they were getting ready to shoot it in like a couple of months. Like they, I think they had a really like, quick development process. And so he sent me a script, and I read it. I think he sent it on Thursday or Friday, and I read it and like, over the weekend, I wrote about 10 demos of like, ideas I had of
James Jay Edwards:your say, you got the script on a Thursday, and the score was done by Monday.
Andrew Gordon McPherson:Yeah, I was still I was still living out my, my Dark Side of the Ring Schedule. So when you need by? Yeah, no, but I, you know, super inspired. I like to try to to sound like, as corny as it sounds like music does kind of like, come in my head when I like. Read stuff for the first time. So I like to try and like capture that in some form. So I sent him that stuff. And a couple of those were the foundation of stuff that went in the movie, but and also, I think a lot of it, he kind of listened to and played on set, especially stuff to like, get people in the mood of like, what the inside of the spaceship was gonna supposed to be like, because I think a lot of that was like on a set. So they Jason likes to play music for the actors to like, get them in the mood, I think so he played some of that stuff. But yeah, it happened, like as far as movies go, like really fast. Because I think like, I think I got I think I got the script in August, and they were shooting in November. And you know, the the mix date was like the second week of the following August, which is, you know, so, so pretty, pretty quick. And yeah, so So yeah, I wrote I wrote these demos based on script. Jason liked a lot of most of that material. And then I like went through a process of kind of like trying to make a bunch of original sounds like a bunch of synth sounds mainly and and he had sent me a lot of references, like he have like, different stuff. A lot of PlayStation One music like really obscure PlayStation One game scores, but also stuff like the he had this video of a guy playing a conch shell in a in an indoor pool. So it had like really weird acoustics and the conch shell like made this crazy sound that I like sort of tried to recreate with like these friction mallets on like a different drum heads and and yeah, so I just kind of like put all that stuff together and then you know, by the time it was you know, edited you know, just hit the ground running with a bunch of material and and yeah, that was kind of the process.
Jonathan Correia:What do you have going next because Kids Vs. Aliens of course is out right now on video on demand and is coming to Shudder later in the year and blu ray soon too. But do you have any projects? What are you working on?
Andrew Gordon McPherson:I'm working on a TV show. And
James Jay Edwards:sounds like you can't tell us what it is
Andrew Gordon McPherson:I don't think that I'm technically allowed to say what it is but I if you if you were like reading movie and other media sites, there might be rumors of the thing that would not be shocked to find out that I'm working on I sorry, I hate I hate like, most of my life is like under this under the like dark umbrella of NDAs. Like until until they're like sweet, sweet morsel of a moment when it's the thing that I've slaved over for months gets released into the and I can talk about it but it's like no, I I write music every day. And at some point, the people who are paying me to do so will let me know when it's okay to tell people that I've done something.
James Jay Edwards:So where can our listeners follow you like on the social medias and stuff to find out where this stuff that you can't talk about right now? When you can talk about it and where they can see and hear it.
Andrew Gordon McPherson:Instagram is really good ango_composer so ANGO is just short for Andrew Gordon, ango_composer. And that's like a social media platform that I actually interact with the most. You know, I put up stories from time to time of if there's stuff I'm working on that I can kind of like sharing some little insights on and there's tips and, and you know, it's sort of like a pseudo portfolio. But then, you know, Kids Vs. Aliens coming to blu ray really soon. And, you know, we're still working on a soundtrack release.
Jacob Davidson:Yes. I was gonna say, Dark Side of the Ring got A great vinyl soundtracks, I'm really hoping that Kids Vs. Aliens gets one too,
James Jay Edwards:that was Waxwork. But if you, we might know a guy if Waxwork doesn't want Kids Vs. Aliens, we, we got a Devin burrows hooked up with a guy to get The Wretched.
Jonathan Correia:We don't know if that actually was us
Jacob Davidson:but we like to think we did
Jonathan Correia:we like to think that happened
Andrew Gordon McPherson:oh, I'll take it. But like, let me say this about like, like, I know that you guys are huge fans of film music as I am I and, you know, Waxwork did do like the most outstanding job for the Dark Side of the Ring. They I don't I know that they're like stuff is continuing to come out from them, That is great. And but I know that the entire, especially vinyl centric industry is being it was totally getting crushed by all the pandemic, and, and, you know, supply chain and all that stuff. So it's like our Random Acts of Violence score. You know, there was pre orders, and I think it was 18 months for it to ship. You know, and so it's like, and I think that people are like, getting really angry when they're like, they get, you know, they spend 50-60 bucks for like, premium, you know, double color vinyl pressing of something, and then they, they wait until like, two years and almost, and they've forgotten about the project. And so like, I think that I think that that has meant that like, a lot of the labels on the physical side are like, making a lot more like safer bets and stuff. And so, you know, so it's, it's a, it's harder for sort of, like, a bit smaller movies to kind of like, and, you know, to sort of like find those outlets. So I'm happy to talk to whoever about anyone who wants to make those things a reality because in reality, it's not all my like call either because, you know, often the, you know, studio or whatever, you know, we kind of own they either own it or we co own it in some fashion. So but yeah, we're we're trying to figure out a way I mean, you can hear you can hear kind of like, on on my YouTube, you can hear sort of three of the main cues from Kids Vs. Aliens, which gives us sort of three different flavors, which is like the classic fantasy, sci fi, orchestral side, the 80s more 80s kind of pop side and then some more like just aggressive electronic side of the sort of production so well.
James Jay Edwards:And it I think, what did you come up with Jacob? April 18, it's out on Blu Ray, I think and then it's gonna be on Shudder sometime probably around the same time. So now if you can't wait till then, like, none of us could you can rent it or buy it on Vudu which I think we all did. And
Andrew Gordon McPherson:yeah, and Apple Music and YouTube and all those good good
James Jay Edwards:as far as I mean, aside from the music, it's just a really fun, watchable movie. I mean, it's 75 minutes long. I always have time for 75 minute movie. Always. You know it's and this is probably explains why Jacob loves it so much. There's Have you seen Psycho Goreman? They're serious Psycho Goreman vibes for me.
Andrew Gordon McPherson:The DP of Psycho Goreman is the DP for Dark Dark Side of the Ring.
James Jay Edwards:Oh, really? Okay.
Andrew Gordon McPherson:Not Kids Vs. Aliens. So I don't know all of the Psycho Goreman guys very well. But Andy, who I Andy also, like I work with a lot on Dark Side of the Ring and Tales From the Territories. We actually are supposed to talk this week about something
James Jay Edwards:Something you can't talk about
Andrew Gordon McPherson:Something I can't talk about. But yeah, I think I think that I don't I don't know that Psycho Goreman necessarily like, I think there's definitely some cross pollination in the DNA of both of those films and and I don't know whether it was intentional or not for them to like kind of have such. Let's call it chemistry with each other. There's a lot of people who use who can I don't know if they the accents of both filmmakers that are coming out a little bit I guess so.
Jonathan Correia:I was gonna say no one does nostalgia better than Canadians right now.
James Jay Edwards:Yeah
Jacob Davidson:especially R rated kids movies
Andrew Gordon McPherson:that's up here we just don't get all the stuff that you guys got down here this is all this is all the current like we just you know we Ghostbusters 2 is still the hot shit
Jacob Davidson:Canada's and another is in like a time warp.
Jonathan Correia:What is the what's the Parks and Rec joke? Oh man. Wait until they find out Kurt Cobain died.
Andrew Gordon McPherson:Kurt Cobain died. Oh no!
Jonathan Correia:Sorry. Bud
James Jay Edwards:Andrew, thank you very much for hanging out with us this morning and in answering questions and humoring us like this. Anybody who hasn't seen Kids Vs. Aliens, go see Kids Vs. Aliens and listen to the music. We'll get you a physical release somehow. If Waxwork won't do it we'll will cause because we all love vinyl. And we would love to have vinyl copies of Kids Vs. Aliens.
Andrew Gordon McPherson:So I appreciate that. I love your support. I love your support in this and while you're working on and let's let's let's look into Tales from the Territories and for The Ranger reissue at all.
Jonathan Correia:I would love that
Jacob Davidson:The full spread. Yeah.
James Jay Edwards:So yeah, we don't yeah, we we'll. We'll start repping ya. So yeah, as far as we are concerned, you can contact us on any of the socials, we're @EyeOnHorror, or iHorror.com. Because that's the site we all call home. Go to@ango_composer on Instagram. Is that correct?
Andrew Gordon McPherson:Correct.
James Jay Edwards:There you go. Cool. To find out what's going on with Andrew, and you guys don't care what's going on with us. You can hear that every two weeks. So um, thanks again, Andrew, for joining us and guys, and to everybody else. We will see you in a couple of weeks. So for me, James Jay Edwards.
Jacob Davidson:I'm Jacob Davison.
Jonathan Correia:I'm Jonathan Correia.
Andrew Gordon McPherson:I'm Andrew Gordon McPherson
James Jay Edwards:keep your eye On horror
