EmmoLei Sankofa is a composer, producer, musician and artist whose original music can be heard on Hulu’s Three Ways, Season 3 of Starz’s Step Up: High Water series, Lizzo’s Watch Out For the Big Grrrls on Amazon and Shudder/AMC’s horror anthology film Horror Noire. Sankofa has also worked with top brands like Nike, Vans, BuzzFeed, Pandora, Kamala Harris for the People, Pulse Films and more via her creative audio company, Bèl Son.
EmmoLei Sankofa
One of her more recent projects was the Hulu series The Other Black Girl. The series focuses on editorial assistant Nella (Sinclair Daniel) as she struggles with the experience of being the only Black employee at her company. When Hazel (Ashleigh Murray) is hired, she expects to find some shared experience and friendship in her, but instead Nella realizes the competition created between them taints their relationship, eventually leading to something darker happening. The series’ showrunners are Jordan Reddout and Gus Hickey.
Let’s find out more about her workflow on The Other Black Girl…
What was the direction you were given for each of the score?
The word that stuck with me when discussing the creative direction with the showrunners and producers was “ambiguity.” This show rides a fine line between being a comedy, thriller, and horror so composing things that could maneuver between each of these genres, but also function in a way that doesn’t always clarify emotion or give away the storyline was key.
What is your process? How do you begin on a project? Is there a particular instrument you start on or is it dependent on the project?
My process is never the same. Different projects call for different creative responses from me. The spark can come from anywhere, any instrument. The key for me is just to always sit down and begin.
Can you walk us through your workflow on this project?
It was really just a matter of sitting down and getting to it. Composing music is no different for me than going to the gym is for Lebron James. Every week, I had a few days to crank out music for the episode we were focusing on.
At the beginning, before we got into the flow of working on episodes week to week, I established the motifs that I’d be able to create variations for throughout. Once you have the meat of the music, it’s easy to create around it and vary things here and there to make musical moments special from episode to episode.
How would you describe the score?
My score for The Other Black Girl is a musical journey that weaves together playful, quirky percussive elements with an alluring combination of eerie and haunting synth textures, bolstered by my collaboration with the vocal ensemble Tonality, as well as the use of my own vocals.
What instruments were used?
I used mallet percussion, other forms of nonmelodic percussion, distorted brass and strings, synth elements, bass guitar, many things. I played and performed everything except for the area where you hear the choir ensemble and the drum set material you hear on toms.
How did you work with the showrunners?
When it came to working with the showrunners on this project, and any project I work on, I was flexible. At the end of the day, this is a collaboration, and while my musical input is valuable and vital, what I do is a supporting element that is designed to elevate the narrative and visual performance. Showrunners have a vision before I am even considered, so I have to respect that and find the best way to nail it while maintaining what’s unique about my compositional voice and what I bring to the table. Communication is key.
More generally, do you write based on a project – spot, game, film, TV — or do you just write?
It depends. Every season and project are different. In general, I’m always following my instincts and leaning toward what’s appropriate at any given moment.
How did you get into composing? Did you come from a musical family?
I got into composing by exploring my curiosity around music production. Film scoring is another conversation and came later when a college professor recommended that I investigate what it might look like to be a film/TV composer after he’d heard a class assignment I’d done.
I’ve been a musician all my life and come from a musical family, so my musical instincts and interests have been present since birth.
Can you name some other recent projects?
Project CC, Season 2 of Disney Launchpad shorts (Disney+) and Three Ways (Hulu).
Any tips for those just starting out?
For those just starting out, I’d recommend the following: Work and build with the people next to you, and rise together. Focus on the craft and getting a handle on what you do best. Strengthen your systems and processes while no one is checking for you. Be a pleasure to collaborate with, and always be an asset.
