![]() He’s so open to things dropping into the track and altering how the final song turns out. Believe it or not, as tightly rigorously written and edited this movie is, it is felt out and so is his music. Phil Lord: He was responding to the movie in this vibey way. They were really supportive, put a lot of my ideas, they had a lot of ideas, and it was really a fun experience and a learning experience. But they handed it over to me and I was just that filter on what I felt had fit best with the film. A lot of times with soundtracks now, the studio just gets a bunch of songs and they might be like, “X, Y, Z, keep this in here,” and give parameters. Metro Boomin: They really just let me loose and let me do just what I felt. I was just inspired by so many colors and all the different animations in the film, so I took a more melodic approach to the whole soundtrack from the beats to the songwriting and singing and everything.ĭid the studio or the filmmakers gave you any particular direction? Because they had already set the bar with the film, so I just wanted to see how sonically I could support that as much as I could. But I mean really just everything they did with the film, from the plot to the animation to the comedy, to everything, just really made it easy for me to see what I needed to do. Maybe in a couple more months there’d be another cut and then I’d watch that and go back to the studio. I’d watch those, go back to the studio, work on some stuff. Then there were early cuts of the full film. Most of them were halfway finished, but I’d get an idea and just really draw inspiration from those. Metro Boomin: They would send me packs of scenes. How did your collaboration begin? Did they specify for which scenes they wanted songs? ![]() ![]() Metro Boomin’ “Spider-Verse” character (Courtesy Columbia Pictures/Sony Pictures Animation)
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