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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