Composer Kathryn Bostic Talks The Supremes At Earl’s All-You-Can-Eat On The Big Score [EXCLUSIVE]

Hollywood Records’ The Big Score series is highlighting the music of The Supremes at Earl’s All-You-Can-Eat, and Screen Rant has a first look at the episode. Based on a 2013 book of the same name by Edward Kelsey Moore, The Supremes at Earl’s All-You-Can-Eat tells the story of three women—Odette, Clarice, and Barbara Jean—whose lifetime of friendship has helped them navigate some of life’s biggest challenges. The movie is the second feature film from director Tina Mabry, who made a name for herself in 2009 with the emotional Mississippi Damned.

Screen Rant is happy to present a look at the latest episode of The Big Score, which features The Supremes at Earl’s All-You-Can-Eat composer Kathryn Bostic pulling back the curtain on how she scored the movie. In the episode, Bostic details her approach in scoring the emotional nature of a movie about friendship, and shares why she chose the sounds and melodies she did. Take a look at the episode, below, and get ready to watch The Supremes at Earl’s All-You-Can-Eat when it hits Hulu on August 23.

Why Bostic’s Blend Of Classical & Jazz Is Perfect For The Supremes At Earl’s All You Can Eat

As seen in the video above, Bostic wrote a largely traditional orchestral score for The Supremes at Earl’s All-You-Can-Eat. Although it was augmented with other elements, the score direction looks to be a strong choice. The best film scores are often inextricably tied with the journeys of the characters, and the many colors and textures of a full orchestra can lend themselves quite well to story about decades of ups and downs in life and friendship. Here’s what Bostic had to say about her score:

Kathryn Bostic: The score reflects the growing friendship of the three main characters; Clarice, Odette and Barbara-Jean as they explore challenges and triumphs within their own lives. I chose a simple melody that grows in variations and mood to reflect their personal catharsis that inevitably tests their friendship as well. Instrumentation is primarily orchestral and piano in addition to some bluesy guitar, vocal and bass motifs. I wanted the score to support this brilliant cast and elevate their dynamic performance in very subtle ways.

On the other hand, there are elements of a period piece in The Supremes at Earl’s All-You-Can-Eat, and it’s also a smart move by Bostic to pull in pieces of popular music from the era. The very title of the film name-checks one of the biggest musical acts of the 1960s, so it only makes sense to have musical nods to blues and jazz. Wither or not Diana Ross’ iconic voice features in the film, Bostic’s score will help ground audiences in its different storytelling eras.

In an interview with The Washington Post, the filmmakers behind The Supremes at Earl’s All-You-Can-Eat also discussed setting out to make their version of a “feel-good” movie. For this, Bostic’s blend of classical and jazz and blues music also makes sense. Everyone knows the feeling of hearing an uplifting film score, but that experience isn’t always as invigorating as hearing a bouncing, pep-fueled song. Bostic is a skilled songwriter, arranger, and composer, and the fact that she is able to use both skillsets means that audiences can be shepherded along the ups and downs of this anticipated 2024 movie in as enjoyable a way as possible.