British composer Daniel Pemberton consistently stands out as one of the most dynamic and original voices in the scoring world.

His compositions have infiltrated popular culture not only through movie scores but with credits on numerous TV shows or video games such as "Little Big Planet." Especially with the current "Spider-Man: Into the Spider-Verse" and its sequel "Across the Spider-Verse," he has brought a completely new perspective to the world of scoring.

Indeed, Pemberton's unconventional approach to crafting these scores is the pivotal factor behind his success. Not only did the movie secure an Oscar nomination for Best Animated Feature Film for "Spider-Man: Across the Spider-Verse" and a corresponding BAFTA nomination, but Pemberton has also earned recognition in the Original Score category.

Moreover, the song "Spiderman 2099 (Miguel O'Hara)," specifically included in the score, has become wildly viral, especially on TikTok.

The "Spider-Man: Into the Spider-Verse in Live Concert," having enjoyed a sold-out success in London, is set to dazzle audiences at the Zorlu Performing Arts Center (PSM) in Istanbul, promising a spectacular experience. Before the concert graced Istanbul, I had the privilege of engaging in an exciting video conference with Pemberton, where he unveiled his creative process as the mastermind behind numerous musical compositions.

'Spider-Verse'

Describing his creative process as having a punk attitude, Pemberton introduces an unconventional aesthetic that pushes the boundaries of traditional scoring. He elaborates on capturing this atmosphere, particularly in his collaboration with Aaron Sorkin. Pemberton, having scored every film by Sorkin, draws inspiration from Sorkin's distinctive approaches.

However, Pemberton feels most at ease expressing himself in the "Spider-Verse" film series. Beyond the success of the eclectic and electric score, "Across the Spider-Verse" prominently showcases an overflow of creativity, exemplified by the iconic goose honk sound. The movie's Instagram account declared, "Only a legend like Daniel Pemberton could scratch a goose honk into the 'Spider-Man: Across the Spider-Verse' film score and make it art," summarizing the essence of Pemberton's unique contributions.

Daniel Pemberton's diverse portfolio spans various genres, ranging from action-packed films like "The Man from U.N.C.L.E." to emotionally charged dramas such as "Steve Jobs." Regardless of the genre, Pemberton emphasizes his commitment to projects that keep his excitement and creativity alive. Thus, whether working on a drama or an action film, he consistently manages to convey the essence of the movie through music with precision and innovation.

In "Across the Spider-Verse," the audience is treated to a kaleidoscopic animated style that propels them into interdimensional action at a compelling pace. The film's score incorporates electric and punk rock rhythms, complemented by record scratches, futuristic elements, dynamic drum sounds and the inclusion of Indian instruments. Pemberton, with his unconventional artistic movements, establishes an entirely new sonic space that is outside of any categorization.

Going beyond instruments

Pemberton always goes beyond the usual instruments we are accustomed to hearing in scores. For him, every sound heard during the process, every tone reflecting the essence of the film, can become a work of art. In this context, he records these sounds using quite avant-garde techniques. "People often comment, 'Wow, he has a million-dollar studio,' but not everything happens in the studio. For example, I recorded a guitar solo from the movie 'Yesterday,' directed by Danny Boyle, with a broken iPhone. Listening to it and using it in the scores had a really cool feeling because it was something authentic and natural," he said.

At the same time, his time spent in hip-hop clubs allowed him to use turntables as an instrument. "I wanted to use turntables as an instrument because I grew up going to hip-hop clubs, and I have always admired the virtuoso skills of really good scratch DJs," he said.

Especially intriguing is the moment when he watches the final cut of the movie he scored. "I hate premieres," he says, laughing. "I usually watch them on TV or on a plane journey two years after they were aired," he said.

Live concert

After the sold-out performance of "Spider-Man: Into the Spider-Verse in Live Concert" in London, it will be quite a pleasing event for the fanbase that it will come to Istanbul on Feb. 3-4. The live orchestra, seamlessly fused with scratch DJ elements, constitutes the film's musical foundation. In this context, this concert, which can be considered a significant first in its field, is Pemberton's way of transforming these parts into a concert through recreation.

He said, "I wanted the concert performance to make the audience feel that it is as much a performance for the musicians as the film."

Having previously visited Istanbul for a documentary, Pemberton said: "Istanbul is a magical city. In that sense, I associate the city with the energy of the 'Spider-Verse' film. Seeing the different colors in the city made me amazed at how it felt. Therefore, Istanbul will be the right city for the concert."