'Bridgerton' Composer on Bridging the Gap Between Bach and Billie Eilish (Video)

TheWrap Emmy Screening Series: More musical masterminds reveal challenges of scoring their Netflix series

Jennifer Maas

Bowers said the key to “Bridgerton’s” choice of pop covers is that “all that music is dance music.”

“It’s all social music, music that we’re supposed to feel like we want to move to, and things like that. So with that in mind, a lot of the classical pieces are things that we maybe don’t know how to move to as much — or as easily as Ariana Grande. So I feel like in that sense, with any of the score, trying to write things — especially anything that was during ball sequences or anything that we wanted to have some sort of pace to — having that be something that felt like, I at least, wanted to move and dance to, I think that helped me.”

Another Netflix composer that focused heavily on movement to guide him this year was “The Crown’s” Martin Phipps, who had the pleasure of writing the music that would usher in Emma Corrin’s portrayal of the iconic Princess Diana.

“I mean, what a character to score,” Phipps said.

“I think, as with a lot of stuff on Season 4 that I did, we tried to be a little understated when you might feel that it would be a big moment,” he said, recalling the harp that was used during Diana’s first scene. “So the bigger the moment, quite often, the less we played it. And in some of the smaller moments, we played it big.”

Phipps still went as “bright and brash and sparkly” as he could with Corrin’s Diana, when the moment called for it.

“She is the ’80s, as far as I’m concerned. I grew up with her in the ’80s and she was a massive part of that,” he said. “And therefore, although I didn’t want to suddenly get all ’80s synth about things, I did really want to kind of embody the breath of fresh air that she blew into this establishment and this very uptight family setup that she entered. So we had to find a way of doing that musically. And there were a couple of moments that are especially around the kind of ‘Di-mania,’ a real fan sequence is when she’s on a parade in Brisbane in Episode 6. And there I got bright and brash and sparkly as I could within ‘The Crown’ world.”

Along with Bowers and Phipps, TheWrap’s Netflix composers panel, which was moderated by awards editor Steve Pond, included Stephanie Economou of “Jupiter’s Legacy,” Osei Essed of “Amend”/”High on the Hog,” Steven Price of “David Attenborough: A Life on Our Planet” and Carlos Rafael Rivera of “The Queen’s Gambit.”

Watch TheWrap’s full Emmy Contenders panel with the composers via the video above.

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