No-one can debate the fact that the music on Supernatural is one of the things that makes the show so special. But it's not just the classic rock that makes the show, even moreso, it's the wonderful, haunting background music. We may not even notice that it's there, but without it, Supernatural wouldn't be the same show. We have a special, exclusive interview with the composer of the music on the show, Christopher Lennertz.

Thanks to Christopher for agreeing to this interview.

Feel free to link to this interview, but DO NOT copy it anywhere else on the web without express permission.

General Questions

How did you get into composing? Was it something you studied at university?

I studied composition at the University of Southern California with Elmer Bernstein. I was originally planning to be a professional guitarist, but fell in love with film scoring when I saw Henry Mancini conduct a score of his a Universal Studios.

Is there much difference between scoring for a film and for a TV show? Do you find either easier than the other?

The main difference is the schedule. TV must be done much faster and usually with fewer musicians. So it takes a lot of creativity and a lot of caffeine to make it happen!

What soundtracks are you working on at the moment?

Currently, I just finished the soundtrack for The Comebacks due out in October from 20th Century Fox, and I'm putting the finishing touches on The Simpsons video game score. After that, I score Alvin and The Chipmunks for Fox…and then its back to Supernatural Season Three!!!

In your opinon, how important to a TV show or film is the score?

I think it is equally important as the cinematography, the dialogue…the acting. It plays such a huge part in enhancing the emotions of a scene. It definitely plays a big role.

Are there any current TV shows that you would like to get involved in?

Not specifically, but I'm always thrilled to work on a great concept with good creative people. For the record, I would have loved to score The Sopranos!

Supernatural Questions

You were nominated in 2006 for an Emmy for your work on Supernatural (specifically from the pilot episode). How did that feel? How did you find out?

It was an amazing honor. I found out from a close friend who had seen the release before I had. I was very surprised. The greatest part was that I got recognized for a show that I make with my good friend Eric Kripke. We had done so many projects together, it was great to get some accolades for one of our collaborations.

The soundtrack for Season One has made its rounds on the internet, but, I believe, it was only a promotional CD and was never released commercially. Are there any plans for a commercial release of your work on the show?

Jay [Gruska] and I keep hoping. He's written so much great material and I think my work has been really strong as well…so we keep pushing. There is a season 2 promo floating around, so, hopefully if enough people like that, maybe a record label will make it happen.

How do you get your ideas for the tracks? Are you given any suggestions from Eric Kripke for the "feel" he wants for an episode?

I try to play what Sam or Dean has going on in their heads. I feel its very important to play the music from their point of view. Many times Eric or one of the other producers has a direction in mind right of the bat…other time, there is a piece of temp music used as a placeholder. Overall, we try to keep the sound of the show consistent while expanding our palette as new episodes and situations inspire us.

Were you involved in the scoring for any Season Two episodes? Your IMDb profile only lists 5 episodes from Season One for you - surely you were involved in the whole season?

Jay and I split each season…so I score 11 and he scores 11 every year. Usually we alternate episodes, but sometimes, due to scheduling…we go out of order.

Again, thank you very much to Christopher for agreeing to this interview.

Feel free to link to this interview, but DO NOT copy it anywhere else on the web without express permission.

This interview was done in July 2007.