John Greswell is a composer responsible for much of the music for the fantastic Charlie & Lola. My Kids TV were fortunate enough to ask him a few questions about his music, the program and kids TV.

Not many people will know your name, but your work will be familiar to thousands of households up and down the country. How did you get involved with Charlie & Lola?
I used to be in a London band called Menlo Park. It was renowned for its chaotic and energetic live performances. A friend of mine (Soren Munk) was enlisted to compose the theme music for Charlie and Lola and he asked if I would be interested in writing the incidental music. Some of the Tiger Aspect people were aware of Menlo Park and were interested in the idea of having that kind of energy in the score. I pitched and got the job.

The style of music on Charlie & Lola is quite varied and is, in some ways, more grown-up than other children’s television music. Was this intentional? Where did you find inspiration for the music?
For series 2 & 3 the schedule was much tighter so I shared the writing with David Schweitzer. We both brought our own influences to the score, but one thing we always tried to do was to make the fantasy scenes as epic as possible – be it an Egyptian mouse funeral or a ride on a pterodactyl. This gave rise to a great variety of music styles, often referential and possibly therefore more grown up. I remember being briefed for a scene where Charlie and Lola are seen wandering in front of the pyramids with the sun setting behind them. The director wanted the essence of Lawrence of Arabia – a reference almost certainly missed by the pre school audience – but none the less a perfect little Charlie and Lola moment, with their fantasy world larger than life. That was the blueprint really – quirky, warm and downbeat for the domestic reality scenes and larger than life for the fantasy scenes.

Do you think children’s television has improved in the last 20 years, or do you think it suffers from too many imports and repeats?
I was born overseas and exposed to very little TV as a child so I am not in a great position to answer this question. One observation I have made however is that there can be a negative flipside to the ease and flexibility of modern technology used to create TV and music. The process is lightening quick these days compared with 20 years ago, and this ease of motion from initial design to finished product can, in the wrong hands, leave an anonymous sheen that you’ve seen a million times. I think it’s important to get a sense of the human – both brilliant and fallible – behind any creative work. As for repeats and imports, well maybe it’s something to do with merchandise deals!

What other shows have you worked on, and do you prefer working on adult or children’s television?
I haven’t worked on any other TV apart from adverts. I have worked on a few small films. Be it adult or children’s TV I am drawn towards non conventional score writing where the music is not quite what you’d expect. Badalamenti (Twin Peaks), Morricone (the spaghetti westerns) and Anton Karas (Third Man) are examples of how a totally unique atmosphere can be created by the score, and I really admire that approach.

What music do you like to listen to when not working?
When I’m not working I tend to avoid music. But looking at my Top 25 Most Played list in iTunes it tells me I like Rományi Rotá (a gypsy band from Hungary), A Swingin’ Safari (60’s safari easy listening), Anouar Brahem (Arab classical and folk), Pluto Shervington (70’s reggae) and Nazareth (early 70’s Scottish hard rock).

Finally, what Kids TV show theme do you like the most?
Again I’m not really up on TV themes but I like The Simpsons, Muppet Show, Grange Hill, The A Team and Magic Roudabout.

Thank you John for taking the time to talk to us. Charlie & Lola Series 3 is available on DVD now.

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