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We still did a traditional spotting session. Mike and I have a definite shorthand for working together. You and Mike Judge have worked together on several projects over the years. The only time I broke that rule was when the unicorn shows up. My goal was to have practically no comedy in the new score. The new score also features a love theme and quite a few theremin solos. There is one, brief quote from the 1996 film in the opening credits where I used the ‘Butt-kong’ theme. In particular, I wrote extensively for brass and was able to include a lot of powerful low trombones in addition to quite a few passages that feature trumpets.

The science-fiction aspect to the new film allowed me to really expand the intensity of the score, as dealing with time travel and parallel universes allowed for the music to be even more dynamic and expressive than the spy/action subject of the 1996 film. The 1996 film has about 30 minutes of score and the new film has close to 60 minutes. While both films feature a large orchestra, the new film has a lot more music. How was scoring this Beavis and Butt-Head movie vs scoring the last? What made this score unique and are there familiar themes you brought from your last Beavis and Butt-Head score? In all, he ended up with 60 minutes of music for the film using powerful low trombones and brass to accompany the cartoon duo on their new adventure. I find myself humming his cues all the time.”įrizzell worked to deliver cues that ran the gamut from emotional to comedic. We like each other’s work, but also John has a combination of qualities that’s really rare to find - someone who is a truly great composer with a vast knowledge of that whole world, and then also really funny and understands where all the comedy comes from, and also writes really great memorable beautiful music. Explained, Mike Judge, “I think there’s a mutual respect there that works.

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