How did you come to write the music for Jawbone?
A mutual friend, Mark ‘Bax’ Baxter, knew that I’d love to do a film score, but not for something mainstream. So he introduced me to Johnny, who outlined the story. I was so vibed that I began to construct the main theme and soundtrack straight away.
What were your influences?
I didn’t have any real influences, but I understand the power of the dynamics of music in tandem with film. I’m tired of seeing these films set in London with banging techno soundtracks. I saw this as more abstract, evolving from tenderness and calm to violent and disturbing, capturing the film’s emotions. Each section would be a mood that would work randomly, sometimes rambling and unresolved [like the film’s central character, Jimmy McCabe], sometimes jarring, or, at other times, in harmony with the scene’s emotion. I also wanted it to be symphonic, not with an orchestra, but with electronic instruments and random sounds. An electronic symphony. I was lucky, as I was given a lot of slack.
Why did this film appeal to you?
I can relate to boxing, as in the middle of the ‘violence’ a fighter has to stay calm and controlled. My dad was a boxer as a young man [and a good one at that; he won 200 fights and had ABA titles to his name], so I related to the story and also to the theme of alcoholism, which I’d suffered from. And I instantly liked Johnny Harris; he’s a very intense but extremely soulful fella. He really wants to make a difference, and he’s done that with Jawbone.