William Philipson’s Zoom window reveals a fairytale grotto of musical instruments. Within view: a keyboard, cello, autoharp, ukulele, several guitars, a bass, a violin and a number of things that look like they’ll do something if you bash or shake them. What lies out of sight, I wonder.
“I play a lot of instruments badly,” says Philipson. “I’m not a violinist but there’s nothing better for making creepy sounds.”
Philipson, 28, has quickly built a successful career writing screen music, and last year became Shortland Street’s in-house composer. It’s demanding, high-octane work, and on first inspection not at all like Dazzlehands, the 40-minute dance piece he’s just written for the Royal New Zealand Ballet, based on Sacha Cotter and Josh Morgan’s children’s book about a pig that refuses to oink. There are similarities, though.
“There’s a through line,” Philipson says. “You’re storytelling. There are themes and queues and working to brief. I know how to take notes and develop something with collaborators, following someone’s vision and helping them with that.”
Early in the project, Philipson sat down with director Lauren Byrne, and choreographer – and RNZB principal – Joshua Guillemot-Rodgerson to pore over a document, discussing styles and the length of individual pieces of music. The process was less prescriptive than it sounds. “Those are just story points: ‘The farmer has a two-minute solo, and it should be folky and trudging. You can be very creative within that. What’s wonderful is that Joshua has been taking a lot from the music, and has come up with [choreographic] ideas around that, and vice versa.”
When Dazzlehands appears at Te Papa on July 12 and 13 in six free school-holiday performances, there won’t be live music, so Philipson has been composer, player, producer and engineer. He necessarily uses digital gear but always tries to include some live instruments.
“I’m a big believer that you need something real,” he says. “I use samples a lot, but with real instruments on top to give it humanity.” He points to the cello as his best recent acquisition: “It’s all over Shortland Street at the moment.” There’s plenty of it in Dazzlehands, too.
How does the ballet composer influence the TV composer? “There’s definitely a two-way street. The comedy music in Shortland Street has levelled up since I’ve worked on Dazzlehands, and there’s absolutely some Shortland Street in Dazzlehands. There’s a lot of me in both.”
What’s “me” in this context?
“That’s the question, right? It’s your tastes, the things you love, the tricks you have up your sleeve and the styles of music you have under your fingers. But it’s up to other people to define me as a composer.”
Royal New Zealand Ballet, Dazzlehands, with music by William Philipson. Te Papa, July 12 & 13.
