During the 1990s, the TV series “Road to Avonlea” aired in Iran under the title “Island Tales” on Friday nights. Despite the heavy censorship and alterations, the series, with its uplifting title music, became ingrained in the collective memory of Iranians during the post-Iran-Iraq war gloom. A few years later, a friend gifted me the original version of the series in its original language, which felt like a treasure. Although the music did not match the spirit of the times in Iran, it delighted the Iranian audience. John Welsman, the Canadian musician responsible for composing the music for half of the episodes of this memorable series, was nominated ten times for the annual Gemini Canada Award and won four times. Welsman, who also composed music for episodes of the sci-fi TV series “The Twilight Zone,” shares his approach to film music in this interview.
Shiva AkhavanRad, UniversalCinema Magazine (UM): How did you get into film music? Did you study film music in school or learn it through experimentation to get into the field of film music?
John Welsman (JW): From the age of 10, I was determined to be a musician – I was mad about music, and studied piano and guitar. A good friend from high school, Kevin Sullivan, was making a short film based on the Hans Christian Anderson story The Fir Tree. This was his first film and my first score, and we basically figured it out together. So it was a happy accident in a way, scoring my first film, and I loved the process. That was 1979. That film led to others, and soon Kevin was producing the Anne of Green Gables series and other TV movies. I scored a number of his early movies. Then Road to Avonlea came along and he hired me to score about half the episodes.
(UM): When composing music for a film, do you base it on the film’s overall theme or create music for each scene based on its rhythm and mood?
(JW): After some initial meetings with the director or producer, my approach is usually to compose the main themes of the film. Those will become the anchor pieces of the score, and yes, to score individual scenes we’ll look at the pacing and tone and compose variations based on those main themes. As varied as scenes are, one to the next, the goal is usually to keep cohesion in the overall score.
(UM): Many believe that a good film score is one that stays in people’s minds and hums it years after watching the movie, like Nino Rota score for The Godfather or Max Steiner’s score for Casablanca. What do you believe are the most important features of a good film score? Do you agree that a good score is one that stays in people’s minds for years after watching the film?
(JW): Well, while I think it could be nice that a score might imprint on the minds of the audience in the way you’ve described, I’m not sure that’s achievable with all films. It would depend on the mood and nature of the film. I think there are many great scores that don’t have a hum-able or memorable melodic theme. I think John Williams’ themes for The Accidental Tourist and Presumed Innocent, both of which are favourites of mine, fall into the less memorable melodies category. But a great score hits all the right dramatic points with just the right emphasis – if it’s too heavy handed, it likely fails. If it’s too subtle, it likely fails. A good score usually needs strong elements – the basics – like melody, harmony and rhythm. And good counterpoint! That’s the ‘counter melodic’ element that may or may not ever feature as the main melody in the score, but which contributes hugely to the listener’s experience of the music.
(UM): You composed music both for TV series and for movies. Is there a significant difference between composing music for a TV series versus composing for a movie?
(JW): Not a huge difference, but yes, a difference. Scores for features usually have a longer line or arc to them, and generally longer music cues. TV music can be more choppy, and often enters and exits in shorter bursts.
(UM): Can you speak about your collaboration with Kevin Sullivan on the TV series Road to Avonlea, which is still remembered fondly by many despite being censored in Iran? It seems that you were once classmates, but you said that you did not know about him for a long time. I need to say that I am one of the lovers of Road to Avonlea, a series that was broadcast on Iranian television in the nineties, and in the sad atmosphere of the years after the war with Iraq, it delighted the audience with its uplifting title music on Friday nights, and after years it is still a part of the collective memory of Iranian people, although the series was aired with censorship and deletion of many scenes (including deletion of love and romantic relationship between the characters)
(JW): Well, yes, as I’ve mentioned, Kevin and I were classmates throughout high school – we both played in the concert band and they kept that class together for all five years, and we became very good friends. We developed a very collaborative approach to our scores, especially when it came to composing the main themes. He really understood music well, and always had insightful observations about the music. We started by looking at script or early footage and talking a lot about the story and what he imagined music might sound like or how it should make the listener feel. Then after working alone for a while, I’d usually bring him a few options I’d come up with. He’d listen very carefully, we’d talk, he’d suggest less of that, more of this, until after a fair bit of back and forth we arrived at a place where we were both happy with the core material. Of course, those themes were then going to be spun out into the underscore as I worked scene by scene. I was very fortunate to have worked on some really excellent television movies and then the series, Road to Avonlea, landed. That was an important milestone for my growth as a composer, writing for an 18 piece orchestra episode after episode. It was a grind, but a very rewarding grind creatively. What you describe of what Avonlea meant to Iranian audiences is truly inspiring. I’ve heard similar stories from people who grew up in Eastern Europe. To know that show, and it’s musical score, lifted spirits in some way at a time when that lift was needed, is so gratifying. Although it’s hard to imagine scenes being censored out of such a gentle and loving family entertainment show. It’s amazing how different cultures around the world are, one to the next. For me it’s hard to imagine why the leadership of a nation like Iran would decide that its people shouldn’t see this type of storytelling. I’m sure that just shows you how much I don’t fully understand.
(UM): You were surprised by the censorship of a family melodramatic TV series. They even censored the episode where Hatty King falls in love and gets engaged to Simon Tremaine, as well as the episode “Enter Prince Charming” where Sarah Stanley has a romantic date with Booth, the priest’s son, and experiences her first kiss. This censorship was due to the Iranian government’s strict stance against kissing and dancing, particularly for women. Despite the vast differences between Canadian and Iranian cultures, do you have any thoughts on this matter?
(JW): Interesting now you’ve spelled out some of the plot lines and characters and their relationships. Please bear in mind I didn’t compose the score for every episode – I scored 45 of the 90 episodes, so I’m not aware of every single story line. Though I did score Enter Prince Charming. Regardless, when I spoke of Road to Avonlea in general terms as being a gentle and loving family entertainment show, that’s obviously as seen through my cultural lens having growing up in Canada. You’ve made me aware of the facts regarding censorship under a government that has a problem with kissing and dancing. While I understand better now how rigid that government was by censoring a cultural product like Avonlea, I still find it difficult to comprehend. To depict human relationships seems core to cinematic storytelling. To depict a basic human activity like dancing seems so natural – people moving together to the rhythm of music. To depict kissing seems rather innocent, as well.
(UM): Are you still in touch with anyone from the crew of Road to Avonlea? Have you watched the series since its rebroadcast in Canada, and who is your favorite character?
(JW): No, I’ve fallen out of touch with many of the people I worked with on the series. For a while I used to see Cedric Smith (Uncle Alec) at the pool where I swim, and we’d have a chance to catch up, mostly talking about music, which was one of his big loves. I haven’t watched the series again. It was a particular time and place for me, and I don’t feel the need to go back there. I think my favourite character was Olivia. There was something so lovely about her warm and empathetic heart, yet she could be feisty too when pushed a little too far, usually by her big sister Aunt Hetty.
(UM): What were your sources of inspiration for making the music of Road to Avonlea?
(JW): Pretty much all the music of Avonlea was inspired by the traditional music of the British Isles, particularly Ireland and Scotland. There was a beautiful album of Scottish songs by the tenor Sir Kenneth McKellar that Kevin and I glommed onto for some reason. That music had a beautiful spirit that we kept referring back to for tone and melodies and harmonies. The music of Vaughan Williams and Aaron Copland were other important jumping off points for me.
(UM): When composing music, do you envision it being played by a large volume orchestra or a smaller chamber orchestra?
(JW): The choice of size of orchestra is often dictated by the music budget, but yes, some shows size and scope suggest a larger orchestral treatment, and others seem to thrive on smaller, more chamber size resources. Avonlea usually had 19 players on any sessions – that was 6 violins, 3 violas, 2 celli and 1 bass, French Horn, flute, oboe/English horn, clarinet and bassoon, piano and harp. On occasion we hired some extra strings and horn. Many of my other scores were realized either with larger live orchestras or were recorded using electronic resources as well as live that strived for a large orchestral sound.
(UM): What composers have influenced your work, whether in classical or film music?
(JW): Well I’ve mentioned a few already. But Randy Newman (The Natural, Awakenings) certainly inspired me, as did Elmer Bernstein (To Kill a Mockingbird). Jimi Hendrix’s early records changed the chemistry in my teenage brain. And Bruce Cockburn, whose early records were so modal and moody – he was a big influence too.
(UM): You have been credited as the music composer for 7 episodes of the new series of Twilight Zone from 1988-1989. How was your score for the show different from Bernard Herrmann’s (I checked spelling) score for the original series?
(JW): Well, it may sound like heresy, but I never studied Herrmann’s scores very carefully. For inspiration, I did find a CD compilation of pieces from original The Twilight Zone composed by people like Jerry Goldsmith and Max Steiner, and Herrmann was on there too.
In my scores for the episodes I did I tried to achieve some of the same signature quirkiness and oddness that the early series had, often using a similar instrumental palette to the original scores. For one episode, I used the 12 tone composition technique – it did get a unique result, but I never used that again!
(UM): Some film music is unpleasantly over-loud and massively distracting; almost painful whereas there are filmmakers do not use music for their films at all. What is your opinion on the use of music in films, and how do you strike a balance between music that enhances the film and music that distracts from it?
(JW): Well, I agree that there are all kinds of score for all kinds of films, as many as there are films and filmmakers. In my work, I want to say only what I need to musically, usually without drawing a lot of attention to the music. If a film is well made, music should only be needed from time to time to heighten the emotion, or play some sort of counterpoint role, telling an aspect of the story that isn’t already there on screen. I’ve always strived for subtlety in my scores where appropriate. I’m happy working behind the scenes to help enhance the audience’s experience of a film, and also happy not to be too conspicuous while the music is doing its work.
(UM): The world has changed tremendously since you started your career. What is your view on the new face of the world, the death of thousands of people due to Covid, the war in the Balkans, the Middle East and Ukraine, etc? How did you react to these tremendous changes in your music?
(JW): Well, I agree, Shiva that the world has changed so very much since I started out. But I don’t imagine the listener can hear any of those societal changes reflected in my scores. I compose a score exclusively in service of the film – I immerse myself in the film’s story and language, and essentially ignore any outside factors. I do, however, believe that one can hear the technological changes that have taken place over time in the sound of my scores. Scores today are often realized in a completely different way than they were in the 1980s.
(UM): In your view as an artist who lives in a modern and democratic society, what is the responsibility of an artist towards those people of undeveloped and non-democratic societies who are suffering from poverty and violence? What is the artist role in a society? Should every artist be a political activist?
(JW): Well that’s a very interesting question. I think I have to draw the distinction between an artist who creates works that are stand-alone pieces to communicate and reflect the artist’s view and stand on their own, and an artist whose work becomes an integral part of a larger audio visual work. Although I’d like to think of myself as an artist, I’m probably more craftsperson. I’m commissioned to compose a score for the purpose of serving the needs of the film. As that kind of artist, I don’t believe I’m required to be a political activist. As a human living who has lived a fortunate life in a wonderful country like Canada, I certainly do feel a responsibility to help those less fortunate than me in any way I can. And that includes being politically active – in some areas more than others. Through our Guild’s association with Music Creators North America, we’re frequently made aware of some of the plight of artists in countries like Iran. At times the group has held back getting involved and potentially endangering the lives of some of these artists and/or their families. And I’m aware of the dangers that journalists like yourself are facing while doing your calling, your work. It’s really an awful situation.
(UM): Recently, Shervin Hajipour, a young Iranian composer and singer, won the Grammy Award for the best song for change for his song “Bara-ye” which he sang on the theme of “Woman, Life, Freedom”. It is a song that inspired the recent protest movement of young people in Iran. Have you heard it? What do you think about it if so?
(JW): The theme is indeed very powerful, and it’s so good to know it’s resonating with audiences all over the planet. It looks it’s received like over a million views! I’m not surprised, given the repetitive and ‘hooky’ nature of the melody, as well as Shervin’s beautiful voice and performance. In other words, it’s got all the ingredients. And then there’s the cry, the plea, the subject matter. And I love the way it shifts gears musically around the 2:00 mark.
(UM): Have you seen any Iranian film that have left a lasting impact on you?
(JW): Shiva, I really wish it weren’t the case, but I haven’t seen any of the many acclaimed Iranian films of the past decades. I realize I have some homework to do to correct this!
(UM): How have your personal experiences with love, relationships, and breakups influenced your music?
(JW): I’ve lived happily with the same woman for 45 years now, so I’d have to go way back in time to think about that answer. When I wrote songs early on, they were definitely affected by love and relationships, for better or for worse! For scoring though, I’ve always been able to write ‘melancholy’ well, but I’m not sure that’s because of experiences with relationships. Most people would say I’m a pretty optimistic, positive and happy person. But for my scores, I do know how to bump up the ‘melancholy and sad’ on the emotional faders.
(UM): When reflecting on your body of work, do you have any regrets or are you overall satisfied with it?
(JW): I feel incredibly fortunate to have come up at a time when there were good budgets for television productions in Canada, and enough in the music budgets to allow me to work regularly with live orchestra in the large studios here in Toronto. I’ve been hired to score a huge variety of films and TV shows and series, and that variety has always kept things interesting creatively. And through the many awards I either won or was nominated for, I know I’ve had the support of my peers. So no, I really have no regrets. I’m thrilled to have worked with some amazing recording artists and musicians as well. It would have been nice to have a chance to work with players from the London Symphony at either Abbey Road or Air London, but it looks like that may have to wait until next time!
(UM): Are you currently working on music for a film or TV series right now?
(JW): I’m not currently working on any music for TV or film – I didn’t manufacture this hiatus, it just seemed to happen. But I’m keeping creative, co-producing with my wife Cherie Camp an album of her songs. This project kicked into gear shortly after the COVID shutdown here in 2020, and we’re now nearing completion. We recorded an album for WEA Canada back in the early 1980’s, so this is a kind of return to something we’d started decades ago. It’s been a very rewarding experience, not answering to anyone but each other for what’s working musically and what isn’t and still needs further polishing. It’s been a long process, but such an enjoyable one.
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