From chronicling the PLO’s Olympic attack with “One Day in September” to a perilous escape from Idi Amin in “The Last King of Scotland” to the trauma of slavery in the miniseries reboot of “Roots” and be-gone’ing Satan in “The Rite,” it can’t be said that composer Alex Heffes’ prolific career hasn’t been a barrel of laughs. When looking at his first two collaborations with director Catherine Hardwicke, there are barely any giggles at all, though there certainly is mesmerizingly seductive fear with “Red Riding Hood” (co-composed with Brian Reitzell) and vengeful rhythms in “Miss Bala.” However, Heffes and Hardwicke’s newest teaming on “Mafia Mamma” is something humorously different for both artists. Though given the violent Italian home turf tradition of gangsterism, this is take the romcom cannolis stuff. Here the fish out of water is an adorable Toni Collette, bringing Lucille Ball-worthy screwball timing to her character of Kristin. This hapless Italian-born American is summoned back by the death of a relative she barely knew. However, her dreams of an eat-pray-f**k vacation are detoured when she inherits the role of a mafia don-ness, one where she applies her underappreciated business skills to making the Balbano family’s front business of winemaking pay off with good taste and wooden leg grrll power with , all while inadvertently averting the numerous attempts on her life by a rival who don’t appreciate Kristin’s extended stay.
As Kristin dances around assassinations while finding new love and a sense of self-worth, Heffes brings in the delightful servings of tangos, Nino Rota-esque brass, accordion and every knowing al dente musical Italianism and pokily sneaking rhythm you’d want in a mob satire. But what a composer schooled in such suspense films as “State of Play” and “Escape Plan” also brings to the table is “Mission Impossible”-esque grooves, breathless percussion worthy of Jason Bourne and sleek action stylings that do their best to keep a straight musical face among shenanigans that veer from froth to graphically jaw-dropping. It’s a “Mafia Mamma” that musically gives old gang school gang comedy score a shot of contemporary hipness that makes the film and its soundtrack one fun blast.
You haven’t scored a lot of comedies like “Mafia Mamma,” though you did do the crime revenge reboot of “Miss Bala” for Catherine Hardwicke. Was this a welcome opportunity to spin that sort of idea into something way funnier?
Scoring Mafia Mamma was total fun from start to finish. After the last few years which have been heavy for everyone it was really great to score a film that is light and fun and that we could really lean into it being a crowd pleaser. There’s a very straightforward litmus test with comedy – either the audience laughs or it doesn’t. So when they do it’s particularly satisfying to feel the movie is working. I’ve certainly sat in quite a few audience previews now for “Mafia Mamma” and there has been huge audience reaction all through the movie — lots of laughs, some gasps and even clapping in one scene on a couple of screenings.
(L to R Editor Waldemar Centeno, Alex Heffes and Catherine Hardwicke)
On that note, one wouldn’t expect Catherine Hardwicke to direct a flat-out comedy, but she’s done a fun job. Tell us about your collaboration this time out.
Yes, Catherine is a total natural at screen comedy! Which, in a way isn’t too surprising for me as I know Catherine well, having scored three movies with her now. She is a really fun and witty person to work with. I’d love to see her do more comedy. It just comes naturally to her. Catherine is all about energy, in how she talks and how she approaches making movies. So we discussed energy and tempo a lot especially in the action sequences. The very first thing she wanted was a theme for Toni Collette’s family – the Balbanos. I think of it as the “Godmother Theme.” I wrote this and the theme for the rival Romano family to the script before the movie was shot, so by the time Catherine was on set there was already a musical identity for both families.
The film certainly has some sly “Godfather” riffs in it. How much of a tribute did you want your score to make?
There’s a running gag in the movie about how appalled all the Italian characters are that Kristin hasn’t even made the time to watch “The Godfather.” Catherine has quite a few Godfather Easter eggs in the movie actually if you watch closely. The score certainly isn’t modeled on “The Godfather” though. I didn’t want to go back and watch it as I didn’t want to be directly influenced by it but we did want to tip the hat with a smile. Catherine always imagined the main theme on the solo trumpet which definitely has the all Italian flavor.
Tell us about the other Italian elements you wanted to bring to the family table.
I wanted to put together a small band – slightly inspired by the funeral band you see early on in the movie. So we had trumpet, tuba, mandolin, dulcimer, accordion and marching band percussion. I used that combination in the action sequences, incorporating it with the orchestral writing. All those instruments give such a lot of character instantly. It was a lot of fun recording the band. We set aside a week to record all those individual players before we recorded the orchestra which gave me time to experiment with all the players and draw out all the character we were looking for. That’s always well worthwhile with an instrument like the accordion which are all about flavor and character. You benefit from recording these live with great players.
What are your own favorite comedy scores and did any of them influence you here?
I’m a huge Henry Mancini fan. I grew up listening to his comedy scores. They have such great tunes in them as well as the amazing arrangements and choice of instruments. On some deep level I’m sure I wanted to use the accordion due to the way he uses it in a couple of movies at least.
What’s the line between playing it “straight” and musically acknowledging the absurdity going on?
Yes, that’s the trick with comedy. Audiences can sense ‘funny music’ a mile off. So trying to play the music as straight as possible while still keeping it light and fun was always on my mind. Toni Collette’s delivery is always funny and always brilliant so I tried to steer clear of her punchlines as much as possible and let her performance shine through. So I’m always looking for where the music can either work around the jokes by giving space, or by underlining a gag or a physical piece of comedy with a color or line that can work with it.
There are parts of the score that could fit into a “Bourne” or “Mission Impossible” score. Tell us about that approach, and how you wanted to make an “old world” symphonic-ethnic crime score more contemporarily uptempo?
It’s really an action comedy, which is my favorite type. Action comedy is probably the closest to ballet. It needs to be able to be nimble and turn on a dime. That’s always a lot of fun to do. It’s like magic when you get it fitted perfectly to picture. It never gets symphonic in this movie. The orchestra is always kept pretty light, and I lean on the small band sometimes to give light and shade so the orchestra doesn’t step on the comedy. Sometimes trying to make things contemporary dates really quickly so I prefer to try and follow my instinct for what sounds good to me rather than follow a trend. Of course I love using synths and whatever new toys are available. But you’ve got to be careful to still write music that can stand up on it’s own without being propped up by something that you think is trendy but in 12 months will sound a bit tired as everyone else has also been copying the same thing.
How would you describe Toni Collette’s comedic style and appeal, and how did you want to add to it?
She has that rare ability to be totally likeable across a very wide audience. I think that is her key, and I think it’s just how she is. She’s a brilliant comic actor but most of it comes from her playing it straight like a regular person you’d love to spend time with. But she has the added bonus of having movie star quality too. Which is perfect for Kristin. She needs to be a regular person who transforms into the all powerful persona of the prima donna of the Balbano family.
How did you want to capture the “fish out of water” element to the story, as well as the idea of Kristin inadvertently outwitting the rival family?
I really took my cue from Toni’s brilliant performance. A lot of the time when she’s on screen I gave her a lot of space with the score as her performance is so naturally funny. Some of it is simply channeling the Italian flavor of the movie. Kristen is totally taken with the romance and the colors of Italy, so pulling that all out in the music helps to give her that feeling she’s been plunged into this new world that she’s loving.
There are some graphically, and very funny jolting moments you might not expect in a movie like this. How did you want to musically handle those scenes that give an idea of the violence she’s humorously navigating?
I know what you mean. I was a bit thrown when I watched the first cut but Catherine reassured me it was all part of her plan for the movie, and she was totally right, the audience always seem to love the most gruesome moments in previews. I always thought I’d try and keep it light musically. The moment the score went too dark you’d lose the comedy even if what you are watching on screen is pretty dark. Sometimes I’d throw in an unexpected instrument in a couple of scenes which are pretty graphic just to take the edge off!
Are there greater expectations being a male composer of a “woman’s picture” as such?
I guess my own personal take is that good women composers and good male composers are capable of scoring movies about anything as long as they can write good music, no matter what size, shape or color they come in. The important part is to give everyone the opportunity.
What position in the rom-com action family do you think “Mafia Mamma” puts you in now?
Well I had a lot of fun doing this one so I’d love to do more!
(Photography by Dan Goldwasser)
What’s ahead for you?
I’m scoring a hit-man drama with a twist for Michael Keaton called “Knox Goes Away.” Michael is directing and starring alongside his co-star Al Pacino. That’s quite some screen magic right there. It’s very exciting. I’m also working on a live concert version of the Apple TV+ nature film “The Elephant Queen” which is also a pretty exciting prospect. I have a new EP out right now called “Outtakes” which I made using acoustic piano and tape loops which was something I’ve wanted to do for a long time. You can hear it now playlisted on Piano Chill on Apple Music.
See “Mafia Mamma” in theaters, with Alex Heffes’ score available on Filmtrax HERE
Buy Alex Heffes’ “Outtakes” HERE
Special thanks to Jeff Sanderson