Background

The original score is composed by Leo Birenberg and Zach Robinson, who also worked on Cobra Kai (2018–present). Birenberg and Robinson discussed the film's music with Eric Appel and "Weird Al" Yankovic. Yankovic interacted with the crew through Zoom due to his participation in global tours, while scoring the film. Birenberg said on his creative collaboration with Yankovic, as "he's an awesome guy to work with, because he's obviously so creative and such a visionary, but he also knows how much direction to give and to let people do their thing to make it as good as possible".^[12] On doing parody music, Robinson added that "you almost 'cue' the audience where to laugh a little bit. So the way you'll structure a specific build or a specific hit will be designed to tee up a punchline that exists in the on-camera work. And when you just play it straight, you're still hitting things and still building, but you're doing it in a way that you want the audience to be like, 'Yeah, I'm in it. This is a sweet action movie.' That's the difference."^[13][14]

Composition

The accordion was used as the primary instrument in the score, played by Cory Pesaturo. On using an accordion for the themes, Robinson explained that the process was "insanely difficult" as the player needs to know the aspects of an accordion and piano, and put them while constantly bellowing, as "that's what makes the sound, is the air being pushed out through these reeds that are in it ... your brain needs to be doing these three totally independent things and putting them together to execute the music."^[13] Pesaturo played the accordion for all themes, instead of solo violins, and flute, so that a lot of emotional themes heard will have an accordion. Robinson added that Yankovic new various varieties of accordions, from various countries that have different sounds of different genres.^[12] In addition to the accordion, Birenberg and Robinson used orchestral music to complement the score, but also had accordion playing in some pieces.

According to Birenberg and Robinson, some of the sequences, including the reconciliation between Yankovic and his dad, Yankovic's speech, his meeting with Dr. Demento and the dinner fight sequence were described as "fun to score". The theme for Al's speech was the first cue he had written and presented for the film, which was appreciated by Appel for the unique composition and style.^[12] The diner fight had a John Wick-styled musical score, which was played by accordion, which Robinson described it as the "fun thing to do so".^[12] For the first meeting between Yankovic and Madonna, Robinson had preferred his version of Yankovic's theme, vocalised by Madonna, that resulted in a "romantic", "over-the-top" piano piece which was scored, to do "a funny Madonna vibe".^[13]

Dr. Demento and Al's meeting included an emotional and orchestral score, whose version had "comedy cues". The original version, is a "very sincere, emotional piece of music that has a little bit more of hope and uplifting feeling to it", which was not considered.^[13] The version is a "goofy comedic cue" played over the weirdness of Demento instead of the sincerity and emotion that Appel demanded. Both Birenberg and Robinson wanted a sincere approach to the sequences, as similar to Robert Zemeckis' directorials in the 1990s.^[12]

Sound design and mixing

Tony Solis mixed and re-recorded the film's soundtrack, while Anthony Vanchure and Michael James Gallagher, respectively edited, supervised and designed the sounds to blend Yankovic's music with Birenberg and Robinson's underscore and sound effects. Phil McGowan mixed Birenberg and Robinson's score. ^[15][11] Solis was reminded by Yankovic and Appel, to mix the live performance sequences "to be more authentic", whether on outdoor and indoor arena performance. Yankovic also re-recorded the parody songs, with Solis mixing them in Dolby Atmos music, as "it is a big surround sound film" and gave him individual stems of the music, and the songs played throughout the film, which gave him access "to weave the music into making it right for the space, making the accordion sound awesome, and making drums and bass and all of his vocals sound exactly right to the space."^[16]

Both Gallagher and Vanchure discussed about the sound design in a music-themed film with Yankovic, who provided instructions on producing each sound uniquely. Vanchure called it as his biggest challenge of any film as "when you are doing audio for film because you have music, and that is helping tell the story, and then you also have the sound effects that we are using to help tell the story and with this movie, not only do we have Weird Al songs, but we also have a fantastic score by our composers, and it also is dependent on seeing how you mix a scene you need to keep playing it back a couple of times and go, “all right, what are we feeling, what’s carrying the scene more.”"^[17]