Ratzafratz

Other than Ratzafratz!,what other animated shows have you composed music for?
The first animated series I worked on was TINY TOONS. I started out as an orchestrator and eventually got to compose a few cues. The Warner Bros. series that I worked on were: TAZMANIA, ANIMANIACS and THE SYLVESTER AND TWEETY MYSTERIES. Over at The Disney factory I worked on the series: QUACK PACK, HERCULES, GOOF TROOP, BONKERS, DARKWING DUCK, and THE LITTLE MERMAID. I’ve also scored three animated films: TOM AND JERRY AND THE MAGIC RING, MICKEY’S ONCE UPON A CHRISTMAS and TWEETY’S HIGH FLYING ADVENTURE.

You also compose for live action films. What is your favorite?
I enjoyed working on the live action film MIGHTY DUCKS II.

Is there any difference in scoring for live action versus animation?
There is a very big difference between scoring for an animated series, an animated film and a live action film. I could give a very long and detailed description about all the musical differences. To sum it up: In animation I hit (match the music to the action) all of the physical action. In live action I play more to the emotion and content of the overall scene.

Being that Ratzafratz! is a Frederator short, do you find it more challenging than composing for a series?
Working on RATZAFRATZ!, and working with my favorite animator, Karl Toerge, is a very exciting opportunity. I’m going to get a chance to write some really different music.

At Warner Bros. Animation, how did you record the music?
At Warner Bros. we recorded all of the music for their animated series with a 30-piece live orchestra.

Will you do the same for Ratzafratz!?
For RATZAFRATZ!, due to the unique musical style I’m going for, I will perform and produce all of the music in my own studio.

Music is so important in animation in giving soundtracks to characters personalities. Do you find yourself following emotional arcs or action?
I usually like to have a musical theme or motif that I use for each of the main characters. I then interweave the action elements around and through these themes.

Who are your favorite cartoon composers and what do you think is their best work?
For the past 15 years I have been very fortunate to have worked with a handful of super talented composers. Richard Stone is the one who really taught us all the craft of writing like Carl Stallings. Mark Watters, Carl Johnson, Steve Bernstein, Gordon Goodwin and Carl Johnson are fellows whose work I admire.

Do you still teach at USC?
I’ve been a lecturer at the USC Scoring Music for Film and Television program for the past two years. In the fall I teach conducting for recording sessions and in the spring I do a series of classes on animation music.

Thanks Eric!

- Jim Wyatt

Click here and check out the music of J. Eric Schmidt