Part II – read Part I here
Advice for aspiring creatives
Levine’s career, characterized by perseverance and a willingness to embrace new opportunities, serves as a powerful example for those seeking to make their mark in the arts. When asked what advice he would offer to emerging professionals in the television industry, Levine doesn’t mince words. “It really is insane. So don’t do it unless you absolutely must,” echoing the sentiment of director, producer and screenwriter David Zucker who has written and directed films like “Airplane!” and “The Naked Gun.”
In our interview, he elaborated on his first meeting with Zucker, back when he and his wife were both attending an event at the University of Wisconsin:
“Someone asked him [Zucker] what advice he’d give to a young writer starting out. He said, ‘Give it up. You’ll never make it. It’s hopeless. You have no talent. Do something — anything — else.’ He paused, then added. ‘If you still want to write after hearing that, you’ve passed your first test.'”
Concerts for television music
As a former Emmy Governor, Michael A. Levine played a pivotal role in elevating the profile of television music, a genre often overshadowed by its cinematic counterpart. Levine’s dedication to bringing television scores to the forefront of public consciousness was instrumental in changing how these compositions are perceived and appreciated. His efforts were particularly significant at a time when musical television score were frequently undervalued, despite its essential role in crafting the emotional and narrative richness of many beloved TV show series.
While reflecting on the creation of the “Score!” and “Words & Music” concerts, Levine remembered, “At the time, although film music was decently represented on the concert stage, television music was not. Our vision was to give television music the kind of public focus and respect that film music did.”
His vision was clear: to ensure that television music received the same level of recognition and celebration as film music, acknowledging the artistry and impact that television composers bring to the medium. This commitment to raising the profile of television music not only opened new doors for the genre but also contributed to a broader cultural appreciation for the music that underscores the storytelling on the small screen.
The story behind Lorde’s ‘Hunger Games’ track
Levine’s ability to blend respect for the original with innovative reinterpretation was showcased in his work with Lucas Cantor on Lorde’s haunting rendition of “Everybody Wants to Rule the World” for “The Hunger Games: Catching Fire” soundtrack. The arrangement, which was initially produced for a trailer for the film “Noah” but was rejected, found new life when Lorde’s career took off.
“Lorde’s career blew up and she needed a song to fulfill a contractual obligation to ‘Hunger Games: Catching Fire,'” Levine explains. “By complete chance, the lyrics and attitude fit the film perfectly.” This serendipitous alignment resulted in one of the most memorable tracks associated with the film, blending the eerie undertones of the original song with a fresh, cinematic twist.
For those interested in the behind-the-scenes story of this collaboration, Levine provides a detailed account in a video on his website, offering fans a glimpse into the creative process that led to one of Lorde’s most celebrated tracks.
The unexpected paths to success
Reflecting on his illustrious and varied career, Michael A. Levine sees the pivotal moments as a series of fortunate accidents. “All the important moments were accidents,” he admits. Levine’s opportunity to write the iconic “throwaway” Kit Kat jingle, for instance, arose because a producer had seen a musical he had written when he was manager of the then-new Berklee Performance Center, which had a sparse audience of about six people.
Similarly, his chance to work with Hans Zimmer came through an unexpected connection. “I got to work with Hans because I played Irish fiddle in my youth. Harry Gregson Williams needed an Irish fiddle player, and Hans randomly showed up to the session where I gave him a CD of my music,” Levine recalls.
Levine’s involvement in “Cold Case” followed a similar pattern of serendipity. “Jonathan Littman, head of Bruckheimer television, said the show needed music like one cue from one film that hadn’t been released yet — and it turned out I wrote it,” he explains, “But in each case, had I not been prepared, these opportunities would have been meaningless. And, trust me, I’ve blown some great opportunities as well.”
Summing up his philosophy, Levine offers a powerful insight from his personal perspective: “Those who say it’s all luck haven’t done the work; those who say there is no luck have been lucky beyond their imagining.”
Looking forward: Embracing new creative challenges
As Levine looks to the future, he remains actively engaged in scoring films, television, games and commercials, while also collaborating with other artists on album releases. Yet, his creative pursuits have expanded beyond music.
“I also started writing screenplays a few years back,” he shares. His short science fiction film “The Aspirant” has garnered widespread acclaim, winning 20 festival awards worldwide and earning praise from industry greats like Gore Verbinski, Vicky Jenson, Matt Groening and Wim Wenders.
For those interested in exploring more of Levine’s recent work, he invites them to watch “The Aspirant” via this link on his website.
Levine’s latest screenplay, “Bo”, tells the story of a 17-year-old autistic girl who trains an “untamable” horse for the sport of Show Jumping, finding her purpose and self-worth in the process. “This has a great deal of personal meaning as I am autistic,” Levine shares. Though he hasn’t talked about it much due to the historical stigma, Levine notes that perceptions are changing.
“Bo has gotten more positive feedback than anything else I’ve written, autistic celebrity Temple Grandin has given it her blessing and there is some serious interest in getting it made. This is Hollywood, though, so we’ll see.”
Michael A. Levine’s journey from playing music in the streets of New York to the on-screen heights of Hollywood is a story of talent, resilience and an unyielding passion for the arts. His contributions to television, both as a composer, screenwriter and advocate for change, have left an indelible mark on the industry. As Levine continues to push the boundaries of his creativity, his story serves as an inspiration to aspiring artists and a reminder of the transformative power of music and storytelling.
Edited by: Abbigail Earl & James Sutton
Editor’s note: An contextual edit was made in the first paragraph after the article’s initial publication.
