Alf Clausen on The Simpsons did some great stuff. But then there’s John Kricfalusi who did The Ren & Stimpy Show and came up with that ‘other’ sound for cartoons.
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So that classic jazz orchestra seems like a cartoon sound. When you think about cartoons, I know my mind goes to Carl Stalling, The Flintstones also, you know… and what I did on Ed, Edd n Eddy was a jazz-horn kind of sound. Which is actually what I’m doing here in Nashville right now.Īndrew: Are there certain instruments you find work better for different genres and media - from cartoons to documentaries/etc.? And then in my down time it might seem strange, but I don’t think a plumber goes plumbing in their off time. Then, a lot of time writing music, producing it, making it for TV and whatever shows I’m doing. I spend a fair bit of time studying and a fair bit of time watching other people’s work - television and film stuff. It’s not that I never do it, but it’s rare. Patric Caird: To be honest, I seldom sit around and just write music unless I have a show to do it to.
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Hopefully you put the same amount of care and attention into writing as you would into playing someone else’s music.”Īndrew Cheek: You have extensive experience writing music for television and for film - from Ed, Edd n Eddy on Cartoon Network, to horror films, to recently scoring the Netflix series The Order - how has this aspect of pairing music to visuals and to a storyline shaped your approach to musical composition as a whole? I think writing is interpreting music, and expressing it. “Interpreting other people’s music, taking someone else’s melodic line - what is the difference? I don’t see a difference. Patric Caird, photo by Michael Becker Photography.