Dec 3, 2025 · 31 min · 10 segments
"Bugonia" is the ancient practice of leaving out the body of a dead cow, with the belief that bees would spontaneously generate from its carcass. That strange idea serves as an inspiration for the…
Jerskin Fendrix, thank you so much for talking to us at the ASCAP Versed podcast.
So we're just a week after Begonia was unleashed upon an unsuspecting public.
It's extremely fun to be in the cinema with, yes, an unsuspecting public and you know what's about to happen and then to slowly see other people realise scene by scene what happens and it's, yeah, it's a bit perverse, I think, but...
I did find that even if you were to spoil every plot for someone who hasn't seen it before, you can't accurately describe the unfolding horror and absurdity and joy and bleakness of this film.
It's expressed in such a certain way that it really is impossible to describe.
So what you often hear from composers is that they're there to serve a director's vision.
But as I understand it, in the case of Begonia, Yorgos Lanthimos didn't really share that much about the film with you before you started.
He shared with me the information that he should have shared with me and very selectively denied me the information that would have made the score inappropriate to his vision, I think.
It's very easy to kind of come across with a soundbite and say, oh, he's, you know, he's playing games.
I don't get to read the original, see the original film or be in any of the pre-production meetings, which is what happened.
It's for good reason, because if I did know what the film was about and I had read the script, I would have written a very, very different score.
So tell me how that minimal instruction did affect the development of your score.
Jerskin Fendrix, thank you so much for talking to us at the ASCAP Versed podcast.
So we're just a week after Begonia was unleashed upon an unsuspecting public.
It's extremely fun to be in the cinema with, yes, an unsuspecting public and you know what's about to happen and then to slowly see other people realise scene by scene what happens and it's, yeah, it's a bit perverse, I think, but...
I did find that even if you were to spoil every plot for someone who hasn't seen it before, you can't accurately describe the unfolding horror and absurdity and joy and bleakness of this film.
It's expressed in such a certain way that it really is impossible to describe.
So what you often hear from composers is that they're there to serve a director's vision.
But as I understand it, in the case of Begonia, Yorgos Lanthimos didn't really share that much about the film with you before you started.
He shared with me the information that he should have shared with me and very selectively denied me the information that would have made the score inappropriate to his vision, I think.
It's very easy to kind of come across with a soundbite and say, oh, he's, you know, he's playing games.
I don't get to read the original, see the original film or be in any of the pre-production meetings, which is what happened.
It's for good reason, because if I did know what the film was about and I had read the script, I would have written a very, very different score.
So tell me how that minimal instruction did affect the development of your score.
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