Tangelene Bolton on Composing Our Stories

Mixed Asian Media - July 26, 2023

By Bri Ng Schwartz

Tangelene Bolton is taking soundscapes by storm. Her recent work includes Nora From Queens, Warrior Nun, and Foundation. Tangelene uses sound as storytelling across genres, citing collaborations with creators, showrunners, and directors as a vital part of her process. Her work is vital in gaining representation for all AAPI creatives behind the scenes of our favorite shows and movies. We were excited to learn more about her history and what is next on her artistic and personal journeys!

Can you give us some background on how you started composing for film and television? 

I was really into film in my teens. I grew up in New Jersey and would run around with my camcorder making short films, cutting scenes to my favorite soundtracks like Thomas Newman and Jon Brion. While music was mainly a hobby for my family, they always encouraged it around the house. My lola first taught me how to play piano when I was 2, my dad would always be playing jazz and ragtime on the piano, and my mom would put on local concerts in our backyard for our community. I had so much fun enjoying the sound of the guitar, hearing stories, and being around the other kids listening and enjoying music. 

I took classical piano lessons growing up and was always reading movie scripts and books about filmmaking at my local Borders bookstore in my free time. Once I discovered film scoring was a possible career path, I knew I had to pursue it and combine my love for both film and music together. 

I went on to study film scoring at Berklee College of Music, and after graduating, I moved to Los Angeles. My friend Tori Letzler, who was out here at the time, graciously referred me to an internship at Remote Control Productions for Hans Zimmer, and I was eventually hired to work there full-time. After that, I went on to work for various composers doing technical music work and additional music composing. Then I started landing some of my own Disney animated and live-action short films and got chosen as a Sundance composer fellow, which helped me gain some momentum while continuing to cultivate and nourish my own musical voice. This eventually led me down the path to solo composing scores for feature films and TV projects like Warrior Nun (Netflix), Unseen (Blumhouse), and Awkwafina Is Nora From Queens (Comedy Central).

How would you describe your unique approach to storytelling through music and sound? 

My storytelling approach is to create as much of an immersive and emotionally impactful experience for my listeners as possible, especially when paired with picture. Whether through musical motifs, harmony, counterpoint, synthesis, and musical sound design, I aim to guide the viewer and listener on a journey that will create an imprint on how they view themselves and/or the world. I also place a huge importance on being authentic to the characters, their experiences, and the story.

You've worked on a wide range of genres, from supernatural fantasy to thrillers, action films, and comedies. How do you adapt your musical style to suit each project? 

My background definitely helps me with this. I’ve written in a bunch of different genres and mediums ranging from animation, horror, action, sci-fi, fantasy, commercials, and reality TV, which has allowed me to adapt my sound throughout different musical spaces. I focus on my overall concepts, approach, character themes, and how they develop with the overall story, while at the same time drawing from my musical toolbox of styles and influences.

Which composers or musicians have inspired you throughout your career? Are there any particular individuals who have influenced your genre-bending style? 

Jon Brion, Thomas Newman, Carter Burwell, Debussy, James Horner, Hans Zimmer, Joe Hisaishi, and Jonny Greenwood.

As a composer, how do you approach working with directors and understanding their vision for a project? Can you share any memorable collaborations? 

I’m an open collaborator and love to dig into the characters and their backstories with my directors and showrunners. Having this clarity is important, along with discussing character arcs and how they interplay with the story throughout the series or film. I then translate it all into musical concepts and ideas. Every project I’ve worked on has been a memorable experience because I’m always learning and adapting through my collaborations.

How does it feel to be part of a cultural milestone, where Asian American women are making significant contributions both on and off camera in storytelling? 

Incredible. When I’m in rooms with other AAPI creatives, AAPI women creatives, and Filipino/a/x creatives, it’s this unspoken bond we all share — an extra layer of understanding and experiences we’ve all gone through as individuals and collectively. I’m proud that I’m a part of projects that create and share our stories, and I hope to continue to help carve space for more of our voices to be heard. There’s still a lot of work to be done, but I’m feeling optimistic about the future.

What advice would you give to aspiring composers who are interested in exploring composing for film and television? 

Focus on developing your musical voice, having open collaborations, and always learning and growing as a composer and musician.

Finally, what exciting projects or collaborations can we expect from you in the future? Are there any genres or styles you're eager to explore further in your music? 

I’m still continuing to work on projects in different genres and mediums, and while I can’t mention anything just yet, I’m always aiming to push boundaries as a musical storyteller. As for future project interests, I love the action, superhero, and sci-fi mediums I’ve already been exploring, but I’d love to also work on a drama where I can be intimate yet lush at the same time. There was a Disney live-action drama project I scored called Let’s Be Tigers, where I composed and worked closely with my talented director, Stefanie Abel Horowitz. It holds a very special place in my heart. I’m proud of the music that I composed for that and I’d love to work on more dramas in this kind of way. Overall, I’m always up for exploring and trying out new approaches to help tell stories and break new boundaries.