Jed Kurzel, film composer, 48: Q&A

In-demand composer Jed Kurzel is responsible for some of the most memorable - and menacing - film scores in recent memory.What does he think sets him apart from the rest?

Knack: Jed Kurzel

How does having Australian roots influence the music you create, particularly when working on international projects? I had this discussion with my brother [director Justin Kurzel] when we were doing True History of the Kelly Gang. I feel like the wildlife here is a lot more influential than we think, particularly the sound of the birds. It seeps into our character. We can be kind of brash and loud – our birds are often brash and loud, too. I noticed it when I was living in England; I kept thinking, “What’s missing?” and it was the birds. They twitter over there; they’re polite. I realised what I was missing as soon as I got back – those rambunctious birds.

How do you think that manifests in the music? Well, I tend to lean toward things that are a little more raw and dirty. I might lean into something that sounds more rough and ready, while in England others want to clean it up.

Do you remember the first piece of music that blew your mind? I had a real turning point the first time I heard the Velvet Underground. Here was a band that took influences from experimental music and pop. They brought everything together and I had a bit of a lightbulb moment like, ‘Oh, I can do that too.” The songs haven’t aged; they’re still as good as they were back then.

Is creating scores for film something you dreamed of doing when you were younger? Not particularly. I always noticed them, and as I got older I noticed them more. I recognised a good one, but it wasn’t something I fell into initially. Then I realised I had a knack for it.

Scores often operate just below the surface of awareness. How do you approach your work? I look at a film and feel like there’s what is happening on screen and then there’s another layer that’s more abstract. It’s like plugging into a feeling that isn’t actually on screen. It’s not so much about following characters; I think it’s more about providing another atmosphere in which this world can live. In that respect, a good score becomes another character in the film.

You and Justin have worked together on several projects including Kelly Gang, Snowtown and Macbeth. Does being brothers give you a kind of shorthand when you work? I don’t think I would have gotten to where I am if I hadn’t had the freedom that I gained from working with him from the beginning. There are a lot of positives in that. If we disagree on things, we can work through them quickly because we can be honest with each other. We can have an argument, and it’s done within five minutes.

You’ll be talking about your work at the SXSW festival in Sydney. What can audiences expect? I guess I’m interested in offering some insight into the realities of it all. One thing I find particularly fascinating is the openings of films. The opening music in films is always interesting to me because it sets the stage – it immerses the audience in a world and establishes the tone. It can really make or break the film.

Interesting. So, what’s your favourite opening to a film? I watched The Thing [a 1982 sci-fi horror film] the other day, and I loved the opening with the wolf running through the snow. The helicopter shot was fantastic, and the music was just all synthesizers. I really liked that one.

SXSW runs from October 14-20. Jed Kurzel will appear on October 18. Details: sxswsydney.com