ScoreNotes: To begin with, how fulfilling has it been for you to work on a series like HBO's True Blood?
Nathan Barr: True Blood is one of the most if not the most fulfilling project I have worked on in my ten years in the business. For one thing, everyone involved in the production is a pleasure to work with. Alan Ball is very involved in the musical process every step of the way, and one of the aspects of working with him that has been so gratifying is the way he has allowed me to explore the musical world of True Blood without too many rules. With this kind of trust it has really inspired me to do some of my best work to date. There are so many eclectic characters that are beautifully portrayed by the actors, which means thematically I have a lot to work with. The tremendous success of the show is also exciting as it means all the work we do is being listened to, watched, and appreciated by many.
ScoreNotes: When you were first introduced to the show's gothic premise, how interesting and different did you find the overall concept to be?

Nathan Barr: My introduction to the show was screening the pilot in preparation for a meeting with Alan and his creative team. I remember thinking how polished and cinematic the pilot looked. I was also impressed at how the show approached the age-old legend of vampires with a fresh eye – no easy task! Learning that Bill was over a century old, that Sookie was a mind-reader, and that the story was based in the south immediately excited me because of the musical possibilities. It’s an excitement that I still carry with me as I approach the finish of season two.
ScoreNotes:   How would you describe the general style of music from the show and what are some of the various instruments you use to deliver it?

Nathan Barr: I would describe the score as very organic, very acoustic, with a strong emphasis on cello, guitar and piano. These three instruments are the heart of the score. At times the score is Appalachian, at times folksy, at times hymn-like, and at times modern-classical with the various string effects. I think it has a very unique sound as far as composition for television is concerned and I am very proud of this.

ScoreNotes: Does the timeline of working on an HBO series differ from that of a typical television production?

Nathan Barr: Thankfully working on an HBO show is rather relaxed in terms of schedule when compared to that of network television. The least amount of time I have ever had to turn a show around is one week, and the most amount of time is closer to a month. I’ve never had more than 35 minutes in a single episode, and a couple of episodes have had only 10-12 minutes of score.

ScoreNotes: Overall, what would you say are some of the key elements that has made True Blood a success with viewers thus far?

Nathan Barr: A great show all starts with the writing. Alan is a brilliant writer and has hired a team of brilliant writers to help bring Charlaine Harris’s incredible world to the small screen. The show is particularly effective with it’s use of cliff-hangers, surprise twists, and the complex emotional journeys of all of the characters. I also think there is at least one character that everyone can relate to in one way or another, and so audiences become emotionally invested in the story and that particular character’s journey. Add blood and sex and the supernatural to these strengths and you have a very potent mix of elements to entice audiences.

ScoreNotes: : Is there any talk of an official "score" soundtrack from the series as of yet? 

Nathan Barr: The score soundtrack for season one will be released this September (2009) by Varese Sarabande Records.

ScoreNotes: : Might you please update us on how are your movie projects are proceeding?  Are there any upcoming projects you can mention at this time?

Nathan Barr: I am starting on two film projects as soon as I finish up season two of True Blood. One is a horror film called Cotton, produced by Eli Roth who I love working with in any capacity. The other is a Dramedy by a director I have worked with before named Barry Blaustein, starring Rainn Wilson, Sarah Silverman, Michael C. Hall, among others. Both are projects I am looking forward to.
 
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