Musicians often draw inspiration from a diverse range of experiences, and for Craig Wedren, his journey through hardcore punk, film scores, and personal projects culminated in the creation of “No Estoy Triste,” the memorable song from the film How to Be a Latin Lover. Wedren, known for his work on cult classics like Wet Hot American Summer and School of Rock, offers a glimpse into his unique creative process and how it all came together for this particular project.
Craig Wedren in a thoughtful pose, highlighting his artistic depth.
From Rock Star Dreams to Film Scores
Wedren’s musical aspirations began in childhood. “When I was nine, I decided I wanted to be a rock star,” he recalls, citing early influences ranging from Elton John and Kiss to The Sex Pistols and The Clash. This early passion quickly expanded to include film, setting the stage for his multifaceted career.
His journey took a significant turn with Shudder To Think, a hardcore punk band formed during his senior year of high school. This band became his primary creative outlet throughout his twenties. Simultaneously, connections with filmmaker friends led to opportunities scoring early projects, including The State on MTV. This gradually evolved into a successful film scoring career in the late 90s, with notable works like First Love, Last Rites, and Lisa Cholodenko’s High Art.
A candid shot of Craig Wedren in a recording studio, showcasing his hands-on approach to music production.
Creating the Sound of “No Estoy Triste” for a Latin Lover
The opportunity to contribute to How to Be a Latin Lover came through a long-standing friendship with Ken Marino, the film’s director. Marino, a fellow member of The State, envisioned a celebratory end-credits song that resonated with themes of family and love.
Wedren’s creative process for “No Estoy Triste” was deeply influenced by the film itself and a desire to create something contrasting. He explains, “The lyrics evolved as a response to a classic Mexican song you hear throughout the film called ‘El Triste’ (‘The Sadness’) -we knew we wanted the opposite of that.” Incorporating recordings of Marino’s children speaking about family and love further shaped the song’s direction.
Musically, Wedren drew inspiration from universal anthems like Bob Marley’s “Three Little Birds” and aimed for the “happy-sloppiness” of The Specials’ “Rudy (a Message To You).” He envisioned a sound that felt like a room full of people joyously playing together. Even the trombone solo was meticulously conceived, aiming for a Sinatra-esque elegance with a “drunk” twist, perfectly executed by the band Jungle Fire.
The goal for “No Estoy Triste” was clear: to create an “upbeat and celebratory” vibe, leaving audiences with a sense of joy and the infectious rhythm of what it means to embrace life and love, perhaps even with a hint of that “Latin Lover” charm. It was about crafting a musical punctuation mark that amplified the film’s heartwarming message.
Inside Wedren’s Broader Writing Process
Wedren’s approach to composing, whether for songs or instrumental scores, involves a collaborative dialogue with directors. He seeks to understand their musical preferences and any sonic visions they might have for the project. This input is then blended with his own musical intuition for characters, relationships, or the overall narrative.
His early career with Shudder To Think significantly shaped his current work in film and television. He sees his composing team, Pink Ape, as a natural evolution, a “composing band” that embodies the collaborative and creative spirit he always envisioned. Furthermore, the enduring creative partnerships forged in his early years, with figures like David Wain and Stuart Blumberg, remain invaluable to his career.
From “School of Rock” to Solo Explorations
Reflecting on School of Rock, Wedren describes it as a “dream” project. Tasked with writing a “Creed-like” hard rock ballad, he created “Heal Me, I’m Heartsick,” a song he jokingly calls “Ridiculous (I say with pride).” Beyond songwriting, he also contributed instrumental scores and rehearsed with the young actors, immersing himself in the film’s magical atmosphere.
Wedren’s solo album, Adult Desire, delves into themes of age, sex, and family with a blend of melodic directness and experimental production, a style he terms “Domestic Surrealism.” Interestingly, some of these songs originated from pieces written for films, highlighting the fluid exchange between his personal and commissioned work.
Currently, Wedren is exploring live, improvisational choral meditation music with “Sabbath Sessions,” utilizing looping pedals and spontaneous creation. His team at Pink Ape remains active, scoring projects like GLOW, Wet Hot American Summer: Ten Years Later, Permanent, and William, alongside ongoing work on Fresh Off The Boat. He also hints at potential new Shudder To Think material, suggesting exciting future developments.
Craig Wedren’s journey showcases a dynamic and versatile creative spirit, adept at navigating diverse musical landscapes, from the raw energy of punk rock to the nuanced emotionality required for film scores, and even capturing the essence of a “Latin Lover” through music.
~Craig Wedren
For more information, visit: CraigWedren.com
In collaboration with/produced by Jeff Gorra
Follow Artist Waves on: Facebook, Twitter & Medium
~ follow Jeff Gorra | twitter @JeffGorra |[email protected]
