Storytelling Through Music: An Interview with Robert ToTeras
Robert ToTeras is a Philadelphia-born and LA-based composer working in television and film, dynamic in style and especially versatile with a guitar. Among ToTera’s recent credits is the 2022 feature film The Walk—starring Terrence Howard and directed by Daniel Adams.
Set in 1974, The Walk explores the sociopolitical dynamics following the court-ordered desegregation of schools in Boston. The Walk tells the story of a good-natured Irish cop in a bigoted police force who is assigned to help protect black high school students as they’re bussed into all-white schools. Dramatic and full of an optimism still relevant today, the film’s soundtrack underpins the story with moody, layered suspense and sweeping melodies.
In our interview below, Robert ToTeras talks The Walk, collaboration, what makes a good score, and the importance of telling the truth through art.
Some of ToTeras’ other credits include scoring and writing music for Cold Justice, Sugar Rush, Sugar High, Law and Order: You the Jury, Cleveland Hustles, and other projects for television, feature films, and documentaries.
Andrew Cheek: First, could you share a little about yourself and your background in music and composition?
Robert ToTeras: I started young. Piano at three guitar at seven. Went through a serious wannabe rock star guitarist phase thanks to Hendrix and Eddie Van Halen. Then I went through a serious classical and jazz phase, thanks to Mozart and Miles Davis. I went to college for classical composition but left early to play in bands.
Afterwards, I was a touring singer-songwriter for a few years. I’ve always had my head in multiple worlds where music is concerned. This actually comes in handy as a film composer in terms of the range of genres you have to incorporate.
Andrew Cheek: How did you get started working in film, and specifically on The Walk?
Robert ToTeras: Coincidentally, it’s the same answer for both. After my fiancé (now my wife) and I moved to Los Angeles, we met an incredible composer named Pinar Toprak — who went on to score Captain Marvel as well as other amazing projects. Pinar became a close friend and has been incredibly supportive of my career — including helping me find my first job as a composer’s assistant back in 2005.
Flash forward to 2021, when Daniel Adams, the director, needed a composer, Pinar (who is also a producer on The Walk) recommended me.
Andrew Cheek: For The Walk, what were some of your goals and intentions with the score?
Robert ToTeras: The story of The Walk is about people. It’s a provincial tale that gathers momentum into a story about sweeping social change. I wanted to reflect the authenticity of those things in the score. Keeping certain parts of the score small, but with an underlying momentum.
Even for scenes that are more kinetic in nature… I didn’t want to play them as action. Because of the nature of the events, they should be seen through a tragic lens. With a score, my intention is always, first and foremost, to serve the story.
Andrew Cheek: How do see music functioning within a film’s narrative to represent themes and ideas? Since The Walk is inspired by true events, how much did that shape musical decisions, like which instruments to use?
Robert ToTeras: Well, I’m a guitar player. Personally, I channel emotion most successfully through the guitar. That doesn’t mean guitar always takes the lead, or front position in every music cue.
In fact, I really enjoy using the instrument to create small poignant moments. Or layering a bunch of guitars to build texture and momentum underneath a larger ensemble, like an orchestra.
I did this a lot for The Walk. This movie is about people living everyday lives who get swept up in social change. The story starts small and gathers momentum until suddenly the Earth is shifting beneath their feet. I wanted the score for the movie to have the same feel.
Andrew Cheek: Who were some of your main collaborators when scoring The Walk? Could you talk briefly about the collaborative process and its influence on your work?
Robert ToTeras: After watching the film four or five times, Daniel Adams came to my studio to watch it with me and talk it over. The great thing about collaborating with Dan was that he was completely confident in the narrative tone he established, but very open to how I interpreted it.
At one point, either he or I said “it’s like a horror film.” Meaning, it’s a bunch of people who were going about their everyday lives, but now are waiting for this big, foreboding moment to happen. Obviously, this was real life, and it’s about justice. But framing it this way gave us a context and an effective way to see the story.
Andrew Cheek: More broadly, how do you see art as an agent of change in the world?
Robert ToTeras: That’s a good question… I feel like it’s multi-faceted. The easiest answer is that some art can objectively bring people together. People see themselves in the narrative and bond over the pure enjoyment of it.
But then there’s another aspect — sometimes art can ask really tough questions that no one really wants to deal with. Also, it can sometimes reveal that there is no easy answer to these questions… or no answer at all. The truth is hard.
The best art tells the truth — No matter what it is, whether it’s The Walk, a premium HBO drama, or a Marvel movie, or Seinfeld. There is some universal truth about people in these properties even if they dress up the telling of that truth in fantasy or humor.
Andrew Cheek: Is there a main message or effect you try to achieve with your music, whether that’s for cinema or other projects?
Robert ToTeras: As a film composer, the only effect I’m trying to achieve is helping to tell the story.
Andrew Cheek: Would you say you have a characteristic style?
Robert ToTeras: God, I hope so. I love to propel a score with texture, specifically guitar if it’s appropriate. I love to explore the guitar’s sonic possibilities. Using dissonance in that texture even if the melody on top is straight forward. Who knows if this constitutes a characteristic style but it’s what I love to do.
Andrew Cheek: What advice would you give to aspiring composers, musicians, and artists generally?
Robert ToTeras: I don’t think you’ll ever get a better piece of advice than ‘Become indisputably good at what you do.’ Sometimes people hear music or watch TV and movies and think “I can do that, it’s easy.” Uh… no, it’s not.
The first thing you notice when you move to Los Angeles or New York City to work in show business is how many extremely talented and capable people there are. Not every project turns out the way you envision it. But believe me when I tell you, the people working on those projects are excellent at what they do.
Andrew Cheek: Do you have a dream project you would like to create, whether that’s a collaboration or solo project?
Robert ToTeras: Oh yes! I can’t talk about it too much because it’s something I’ve been working on in secret for a few years. I’ve just started letting some trusted friends give me feedback on it — which can be a little tough to hear. But the right people can make you a whole lot better than if you just tried to go it alone.
Hollywood is so collaborative, which is a good thing. But most of the time, at least in my field, you’re working on something that others dreamt up. But everyone has something of their own they’ve been longing to do. A piece of art you really want to hear, or see… Something you feel like the world is missing.
Andrew Cheek: I think that’s it! Is there anything else you’d like to add?
Robert ToTeras: No that’s it. Thanks so much for talking to me.
