How the score is the driving element behind 'Babylon,' 'a musical without being a musical'

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How the score is the driving element behind 'Babylon,' 'a musical without being a musical'
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Director Damien Chazelle and composer Justin Hurwitz infuse the film's Roaring '20s score with a spirit that was more modern rock ‘n’ roll or even rave culture.

Damien Chazelle and Justin Hurwitz are one of the more exciting director-composer pairings of the new century — a millennial corollary to the likes of Alfred Hitchcock and Bernard Herrmann or Steven Spielberg and John Williams. They’ve known each other since playing in a band together at Harvard, and Chazelle has always given Hurwitz an outsized role beginning with their early musical, “Guy and Madeline on a Park Bench,” and through the music-centric films “Whiplash” and “La La Land.

He was inspired by “La Dolce Vita,” Federico Fellini’s 1960 saga of Italian decadence where Nino Rota’s music bleeds back and forth from in-world parties to the outside soundtrack.

“It’s just something we love doing,” said Hurwitz, who has scored films only for Chazelle and is therefore able to spend several years on each project as an essential creative force. He wrote acrobatic, high-octane solos for a baritone sax player named Leo Pellegrino and a trumpeter, Sean Jones — both discovered through YouTube. More crackerjack soloists and small ensembles were recorded at Capitol Records, and a full orchestra at Sony. As much as anything, the score is a love letter to melody and live musical performance.

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