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Development [ edit ]

Pereira who watched the Despicable Me films, observed 🏀 audience reaction to the Minion characters, and felt that "this is now a part of their lives, and I want 🏀 to do justice to this dedication from the audience", resulting him to score for Minions.[4] The score was fully orchestrated 🏀 and dramatic to give a feel of "classic action film". As the film was mostly set during the 1960s, Pereira 🏀 recorded the music using vintage microphones which were used by The Beach Boys and Frank Sinatra, which he felt as 🏀 "an opportunity to pay homage to the musicians and technicians of that time" and also inspired composers such as Henry 🏀 Mancini, Lalo Schifrin and John Barry.[5] He had stated on the selection of popular songs from the 1960s, saying "Those 🏀 songs represent an era but they also have to have a relationship to the moment in the movie where they 🏀 appear. The directors love music and those were the songs that they felt at the moment represented the storytelling the 🏀 most, like "You Really Got Me" or "My Generation".[6] He also featured some of the songs in the film are 🏀 sung by the Minions themselves. He added that "it was fun to write music around it and try to make 🏀 the orchestral music and band music to somehow be holding hands with the music of the period without sounding like 🏀 somebody that wrote the music then".[6]

"I'm from Brazil, but the first time I heard The Beatles, I didn't have a 🏀 clue what they were singing about. But the rhythm and the waves of the sounds that the language created somehow 🏀 already put me in a certain frame of mind. I find that the same goes with the Minions' language." — 🏀 Pereira, on the use of Minions language[4]

Pereira compared the music for the Minions to that of the Three Stooges, where 🏀 the difference is Minions could not speak English. He further said that "Their language is not language, but the cumulative 🏀 aspect of the repetition of those words is like creating a language in itself [...] In Minions, a lot of 🏀 things go by and then the narrator has left the movie and now they are out there on their own. 🏀 Instead of compensating for their lack of language I decided to back off, give them space, and let their phonetic 🏀 sounds be very clear. That was a lot of fun because we almost made a dictionary of their sounds and 🏀 let the music follow the same kind of repetition."[6] Pereira took the music from their travel through time and acquired 🏀 all the personalities through the score.[6]