Hanan Townshend is a distinguished film composer and pianist. Originating from New Zealand, Townshend gained recognition for his impactful orchestral scores in collaboration with director Terrence Malick, notably contributing to The Tree of Life, To the Wonder, Knight of Cups, and the IMAX documentary Voyage of Time. Townshend’s unique approach, characterized by a nuanced dialogue with internal atmospheres, underscores his commitment to shaping the cinematic landscape with a passion for innovation, storytelling, and the transformative power of sound.

In ‘WENT UP THE HILL’ at #TIFF24, this talented composer scored the music and shares his insights in an exclusive interview with Usha Pudukkotai. Here are the excerpts:

Your work with Terrence Malick is often noted for its deep, emotional resonance. How do you approach creating a score that complements Malick’s distinctive filmmaking style, and what role does the dialogue with internal atmospheres play in this process?

When working with Terry, I never work directly with the picture. Instead, he often describes music using metaphors, which I dive into. For example, a concept like doubt can become an entire piece of music. I also aim to create continuity between the classical music Terry uses and the original score, thinking of the music as part of a collage. My role is to provide him with the pieces he needs to create that collage.

In ‘The Tree of Life,’ ‘To the Wonder,’ and ‘Knight of Cups,’ your music seems to enhance the philosophical and spiritual themes of the films. How do you collaborate with the director to ensure that your compositions align with and amplify these thematic elements?

We start with simplicity, especially when dealing with deep philosophical or spiritual themes. The music needs to be minimal, allowing space for contemplation. Terry’s philosophy is to avoid manipulation, ensuring the audience doesn’t feel the fingerprints of the creators. This approach is challenging, but we strive to achieve it.

‘Voyage of Time’ presents a unique challenge as an IMAX documentary. How did you adapt your compositional techniques to fit the expansive and immersive nature of this film, and what were some key influences in shaping the score?

I worked on ‘Voyage of Time’ off and on for about ten years, so the process was long and detailed. I was inspired by composers like Michael Levy, who create abstract, otherworldly music. We wanted the music to feel like it was arriving from somewhere else, contributing to the collage-like score that was part of the bigger picture.

Your music often features a nuanced and innovative approach. Can you share an example of a specific technique or concept you employed in one of your recent projects that you believe sets your work apart in the film industry?

I grew up in a rural part of New Zealand, surrounded by the ocean and mountains, which I believe influences the soundscape quality people often attribute to my music. This environment likely shaped my unique approach, which I try to retain in my work, despite formal training. I want my ideas to feel fresh and personal, reflecting where I come from.

As a composer and pianist from New Zealand, how do your cultural background and personal experiences influence your work in film composition, and do you find that your international perspective adds a unique dimension to your collaborations

My background in New Zealand, especially growing up next to the ocean and mountains, has greatly influenced my music. The soundscape quality of my compositions comes from the natural environment I grew up in. We have a saying in New Zealand, the “number eight wire” approach, which is about figuring things out in your own way. I’ve carried this mindset into my work in film composition.

Who has been the most influential figure in your musical journey, and how has their work inspired or shaped your approach to composition? Howard Shore was my biggest inspiration when I was younger, especially with the ‘Lord of the Rings’ soundtrack. As I got older, I was drawn to British composers like Clint Mansell and Johnny Greenwood, as well as Icelandic composers. Their unique, organic, and soundscape-oriented work resonates with how I approach writing.

With the rapid advancements in AI and technology, how do you envision the future of music composition, and what role do you see AI playing in the creative process?

I see AI as a tool, and I’m not afraid to use it to help with small ideas or reduce workload. However, I don’t think people really want to hear or see computer-generated content. I value the human touch and want to keep that alive in music. While AI can be useful, I believe it’s important not to undermine the artistry and fairness of human creativity

A message for our #TIFF 24 audiences please.

This is my first time at TIFF, and I’m having a great time. My message to the audience would be to have fun, enjoy yourselves, and connect with the many wonderful people here.