Matt Johnson and Jay McCarrol’s collaborative journey began with a serious project in their youth. The pair from Toronto initially crossed paths when Johnson’s then-girlfriend introduced them. Johnson’s passion for filmmaking and McCarrol’s interest in scoring films led to their first joint endeavor, with McCarrol providing the score for one of Johnson’s student film projects.
Recalling their early work, Johnson shared an anecdote at last year’s TIFF about a film focusing on a character dealing with his father’s sudden deafness caused by a lighting mishap on a movie set. The narrative explored themes of loss and self-expression, setting a stark tone that contrasted sharply with their later comedic endeavors.
Their most recent venture, Tony, delves back into more dramatic territory as Johnson directs a biopic centered around the life of the renowned chef and author Anthony Bourdain. The film, produced by A24, stars Dominic Sessa as a young Bourdain navigating his aspirations and challenges while working at a Cape Cod seafood restaurant. Antonio Banderas portrays a mentor figure who tries to ground the aspiring writer, drawing inspiration from Bourdain’s acclaimed memoir, Kitchen Confidential.
Despite not being a Bourdain enthusiast initially, Johnson welcomed the opportunity to explore unfamiliar subjects through filmmaking. He identified with the protagonist’s relentless pursuit of self-realization, a sentiment echoing his and McCarrol’s own ambitions in their youth.
McCarrol, who has composed music for all of Johnson’s films, including the award-winning BlackBerry, found Tony to be a departure in terms of musical composition. Transitioning from the grandiose orchestral scores of Nirvanna the Band the Show, McCarrol crafted a more subdued and intimate soundtrack for Tony, focusing on the introspective journey of the protagonist.
The score, characterized by melancholic tones and recurring motifs, serves as a narrative tool to delve into Bourdain’s internal struggles and uncertainties. Johnson emphasized the significance of the music in conveying Bourdain’s emotions, particularly in moments where the character’s feelings remain unspoken on screen.
The production of Tony marked Johnson’s foray into the American studio system, a departure from his usual Toronto-based team at Zapruder Films. The experience exposed McCarrol to a more structured production environment, highlighting the collaborative process between the duo and their team.
McCarrol’s involvement from the early stages of script reading to final scoring underscores the seamless collaboration between him and Johnson. Their shared vision and mutual understanding allow them to work cohesively, with Johnson trusting McCarrol’s musical instincts to enhance the storytelling.
Looking ahead, Johnson and McCarrol are set to continue their partnership in upcoming projects, with McCarrol taking on an executive producer role and scoring duties for Johnson’s next film. Tony is set to premiere in Toronto, Montreal, and Vancouver on Friday, followed by a nationwide release on August 21.