Kathleen Wallfisch on being music supervisor for epic blockbusters

Music supervisor Kathleen Wallfisch worked on the grand coronation scene for Napoleon, filmed in Lincoln Cathedral.

A period blockbuster wouldn’t be complete without big-budget scenes of grand celebrations involving hundreds of extras.

As there’s no party without a bit of music, directors face an extra logistical challenge in showing performers on screen and trying to abide by historical accuracy.

It’s here that music supervisors, often unsung heroes in the film world, come into their own.

“You have to oversee everything from beginning to end,” said Kathleen Wallfisch, the Scot who took on the role for the recent Ridley Scott films Napoleon and Gladiator II.

“From looking at composer selection to going through the script to see where music will be used, to contracting musicians and clearing and licensing tracks in post-production as well. It’s an all-encompassing role, but it’s really interesting.”

Originally from Dundee, Kathleen studied as a cellist at the Royal Conservatoire of Scotland and the Royal Academy of Music in London, becoming immersed in period instruments and enjoying being encouraged to research pieces and how they were performed.

Specialising in cello and the Baroque instrument viola da gamba, she had regular roles on camera as a background musician. After working on a Burberry commercial, she realised there was no process for booking musicians like that for extras.

It led her to set up the agency she runs today, Music In Vision, to bridge the gap between musicians and film production companies and also provide music supervision services.

The role marries her love of performance and research with on-set experience over the years, contributing to the accurate representation of music on screen while also being an advocate for real musicians to be cast and paid fairly.

For 2023’s Napoleon, starring Joaquin Phoenix, Kathleen was tasked with organising and arranging the music performed in a coronation scene shot at Lincoln Cathedral, which doubled for Notre Dame.

“That was a massive scene, so many musicians to wrangle. We had a full choir and orchestra there. Everyone needs to be rehearsed on very little time, they’ve all got costumes to wear and they had to get up to Lincoln.

“We still had some Covid restrictions too. It was a massive undertaking, but it’s amazing when you actually see a scene like that come together. Even veteran film crew were feeling like it was a real moment.”

The coronation scene in Napoleon, starring Joaquin Phoenix and Vanessa Kirby.

Kathleen worked with Scott again on Gladiator II, where among her key roles was bringing to life the 2nd-Century piece Hymn to Nemesis for a party scene.

The piece had to be arranged and produced, and musicians cast to play it on reproductions of Roman instruments.

“I went to very well-researched sources that gave an overview of the melody that was actually written down from the time,” Kathleen said.

“There were hardly any of those. For me, the enjoyable part other than the research is bringing all these amazing musicians together who are playing these reproduction instruments.

“A recreation of a Roman melody with a counter tenor voice probably hasn’t been done before. It was a lovely opportunity.”

Kathleen in studio in London with musicians playing recreation Roman instruments.

Kathleen was delighted to work alongside a legend in Scott, who has also directed the likes of Alien and Blade Runner.

“I’ve been really fortunate to be able to see the way he works,” she said. “What always strikes me is that he’s so down to earth and it’s very easy to communicate with him. You don’t get the opportunity to see someone like that work very often in your life.

“These sets are well-oiled machines. On Gladiator II, I just thought I’d never see one like it again – they recreated half of a life-size Colosseum.”

Kathleen, who now lives in Berlin with opera singer husband Simon and her young family, hopes the school opportunities that led to her making a career in music don’t disappear for today’s youngsters.

“It makes me sad when I see councils having to cut their funding and one of the things to go is arts education,” she said.

“That’s a real problem. I used to be a strings instructor for Dundee City Council. I came up through that system and it’s so important kids have those extra-curricular activities.”

Kathleen will be back on home turf next weekend, sharing insights into her work as part of the Sands International Film Festival.

The popular St Andrews event is backed by Hollywood titans the Russo Brothers, directors of Marvel’s Avengers films.

“It’s really great to be asked to go and be able to spend some time there, especially with other people in the industry from Scotland,” Kathleen said.

“The sponsorship from the Russos is amazing and absolutely invaluable for a smaller festival. It gives it a level of seriousness.

“Not only does it celebrate what we do, it also allows people to come and see some of the locations or meet production professionals who are actually working in Scotland, because all the resources are there.”

It also affords Kathleen a chance to visit family in Broughty Ferry.

She says she hopes to spend more time working near home, including on a project waiting to get the green light, Wax Fruit.

The Scottish-based period piece – billed as Glasgow’s Bridgerton – recently piloted in a trailer starring Elaine C Smith, Martin Compston and Ashley Jensen.

“If I’ve got the opportunity to do more for the country that’s already given me so many opportunities, that would be amazing,” Kathleen said.

Sands 25: This Much I Know… with Kathleen Wallfisch, Friday, Byre Theatre, St Andrews. Visit sands-iff.com