The version we did of it starts off very close to the original, then it slowly morphs into pantomime, a silent movie version, trying to keep it as fun as possible! Even Bandit says it right at the beginning of the episode. Joff: For ‘Magic Xylophone’, that was one of the ones where Joe Brumm had a very clear idea from the get-go that it’d be Mozart, Rondo à la turca. There’s also something magical about that music that fit in with the episode, something very Harry Potter! There’s something about that episode that is such a game for Bingo, it just reminded me of that theme. And you can play all sorts of games with kids with that one. You could play it in so many different ways! You can be sneaky, play it staccato, whatever you want. I remember using Hall of the Mountain King. Joff: Yeah! A lot of the use of these pieces comes back to when I was a piano teacher. Was it a similar story? You just had this moment, and you thought, ‘will it fit?’ Russell: Another great moment was in ‘Featherwand’, and Grieg’s Hall of the Mountain King. It was kind of a dance in itself! We threw a lot of stuff up there, and Waltz of the Flowers just fit perfectly. Just to show Bluey and Bingo going round in circles, trying to lick each other’s ice cream. I think we probably originally had The Blue Danube or something like that. And there was a good 2 minutes in the middle of the episode of them walking round in circles! So obviously it’s a big musical moment. Joff: Waltz of the Flowers! We were watching a rough, early version of the film – it's called an ‘animatic’, a kind of animated storyboard, all in black in white, just these shapes moving across. Talk me through that process of using Tchaikovsky. I was watching ‘Ice Cream’ the other day. Russell: Let’s go through some of the episodes of ‘Bluey’ that use classical music. They don’t care! I’ve never had anyone say, ‘I can’t believe you ruined that piece!’ Something like ‘Tickle Crabs’, that sounds like tickley music, that’s fun!’ It can be light, it can be really fun.Īnd those composers are all long dead. One of the things we see in ‘Bluey’ is the number of kids who’re getting into classical music because they’re seeing it through, not in the light of we have to sit down and be really quiet in a concert, but in the light of, ‘Oh, this could mean this. Which doesn’t need to be – it's fun! And I think that that pedestal is something that turns a lot of kids off it. I don’t know, on a pedestal or something. But there’s a lot of music that’s held up. Joff: A hundred percent! Some pieces, there is this whole approach, the music is about sadness, and I’ve got to pour my heart out blah blah blah - and that’s great. It’s ‘serious’ stuff! Do you feel as the composer on ‘Bluey’ that you have to do something to the music, to make it more accessible to little kids? It’s been described as “putting ice cream on caviar”. And there’s a history of using these pieces and sort of murdering them. There is a big history of classical music in animation with ‘Looney Toons’ and things like that. And I’ll come up with a few ideas for music as well. Joe Brumm, the creator, often has a lot of ideas for classical music. Things that might be missing that we want to highlight. Joff Bush: Every week we have what’s called a spotting session, where we sit down and decide all the ‘spots’ where the music is going to go, and we talk about the concept behind the episode, and what the story is. Russell Torrance: Who decides which classical music to use?
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