When it comes to last minute change-ups during post production on a film, typically, it’s the film composer’s score that gets swapped out, not the actor.
But in the case of All the Money in the World, composer Daniel Pemberton remained the rock that director Ridley Scott relied upon as he embarked on a last minute reshoot weeks before the pic’s holiday release. The actors might have changed in the end — the embattled Kevin Spacey for the honorable Christopher Plummer — but not one note of Pemberton’s music. When we spoke with the composer on Crew Call, it was when Scott had made the maverick decision to go back and salvage All the Money in the World with Plummer following the sexual allegations made against Spacey.
Pemberton worked with Scott through a locked first cut that was destined to premiere in the closing night slot at the AFI film festival back in November. A British composer who has quickly established a reputation for memorable film themes (read the 1980s digital sounds of Steve Jobs and the retro 1960s jazz score of The Man From U.N.C.L.E.), Pemberton delivered a classical, Italian sound to Scott’s thriller about the legendary kidnapping of Getty scion John Paul Getty III, and the jaded wealthy grandfather who wouldn’t spend a dime to rescue him.
Scott became familiar with Pemberton’s work on the 2011 thriller The Awakening, and hired him to compose for the Cormac McCarthy-scripted noir The Counselor as well as the director’s TV directorial The Vatican. Pemberton received his second Golden Globe nomination last year for his original song “Gold” from Gold which Iggy Pop performed. This followed Pemberton’s Golden Globe nomination in the score category the year prior for Steve Jobs. The composer is also a two-time BAFTA nominee.
Up next for Pemberton is Warner Bros.’ gender-reversal heist comedy Ocean’s 8. Pemberton is also in consideration this season for his score to Aaron Sorkin’s Molly’s Game.