Interview: Corrective Measures Composer George Streicher Discusses His Score –

ComingSoon’s Jeff Ames was able to sit down with composer George Streicher to discuss his score for the film Corrective measuresstarring Bruce Willis and Michael Rooker.

Corrective measures is a 2022 American action science fiction thriller film written, produced and directed by Sean O’Reilly and starring Bruce Willis and Michael Rooker. It is based on the graphic novel of the same name by Grant Chastain. The movie is currently available on Tubi.

MORE: Samaritan Trailer Previews Sylvester Stallone’s Superhero Movie

George Streicher is a composer of music for film and television. As a film composer, he has written original scores for animated features such as Fish and Howard Lovecraft and the Undersea Kingdom. For television, he scored the Snapchat / Comedy Bang Bang series Totally Badass Wrestling and worked as an additional music composer on Nickelodeon’s The Smurfs. Most recently he completed the score for Arcana Studio’s The heroes of the golden masks, starring Patton Oswalt, Ron Perlman and Christopher Plummer. In addition, he has worked as a composer and arranger on video games such as Harry Potter: Magic Awakened and live events such as Macy’s Fourth of July Fireworks.

Jeff Ames: What made you become a composer?

George Streicher: I come from a beautiful musical family. My mother was a concert flautist, my father was an amateur musician, and I and all my siblings took music lessons of some sort as children. I grew up loving listening to and playing soundtracks. However, I really started as a filmmaker. As a kid I scored my own short films and that continued through high school and college; when I started to take music more seriously. I started scoring films of classmates and friends and eventually a producer reached out (Sean Patrick O’Reilly) and asked me to score their feature. This is really where this whole career started.

What was it about corrective action that made you want to work on it?

It was a genre I had never worked in before. In addition, it was a live-action film. I have a lot of experience and credits in animation so this was a welcome change and a fun challenge. I got to work on a scale I’m not used to musically, and by scale I mean an energy that was more aggressive and gritty. Writing for live guitars and drums as opposed to an orchestra, gets to play some amazing performances in the film.

What was the most challenging aspect of corrective action and how did you overcome it?

Trying to find the sound I wanted for each character was challenging. These turned out to be pretty simple solutions, but I went through a lot of ideas to land on it. Fortunately, the director and editor had placed several really good folk/country songs throughout several montages in the film. When I saw a cut for the first time I thought they were so perfect and it helped guide me to the style of the score. But I still wanted each character to have their own distinct musical voice, which I think we’ve achieved.

Do you have any funny behind-the-scenes stories about the making of corrective measures?

There are a few fun things that went into the making of the score. For example, since The Lobe listens to very classical music in his cell, I designed a drum kit based on sounds of me hitting the body of a Steinway grand piano and the body of a cello. I pulled them into my DAW, processed them and made a drum kit specifically for his character. There are also a few moments where I use a special synth effect I made. I researched the frequencies that different brain activities resonate in. I dialed a synth patch to 30khz and added a bit of distortion to make it more audible. I use that effect when The Lobe uses his power in a scene. It’s subtle, but it felt appropriate to have it in there. For the character “The Conductor” I sampled a lot of sounds of electric arcs and zaps and created synth leads to use in his signals. There is also quite a bit of prison cell door slamming and metallic sounds layered into the percussion to help reflect the prison environment in which the film takes place.

MORE: Resurrection interview: Tim Roth talks thriller, working with Rebecca Hall

What were some of the things you learned from corrective action that you are excited to apply to future endeavors?

A lot of what I learned in the making of this score was using sound design in the production. It seems there can never be too much production on scores like this. I had a lot of fun playing around with sound design elements to highlight cuts or enhance moments musically. And just finding the elements that work for the characters and help color the cues in a distinct way is so effective and so much fun. The conductor and all the electric arcs in his signals come to mind.

Do you have other projects in the works that you can share with us?

I’m working on a fun personal project that I plan to release in October. It’s a live orchestral Halloween album called “Music of the Macabre”. Something I’ve been working on since 2020 and I’m really excited about.

Related Posts