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Interview with Geoff Zanelli

Film Music Magazine News - 1 uur 42 min geleden

In the franchise world of “Pirates of the Caribbean,” one rises up the ranks from deckhand to captain by scallywag subterfuge, mutiny and murder. In composer Geoff Zanelli’s case, it’s the far more mild, if no less impressive traits of hard work and talent to get ahead as part of Hans Zimmer’s crew. A mate on the very first ship named The Black Pearl, and dexterously jumping from one darkly enchanted sea craft to the next over the course of three more pictures, Zanelli is now having a not-so motley band of musicians answering to his beck and command with the rousing “Pirates” saying of “Dead Men Tell No Tales.” As overseen by Norwegian directors Joachim Ronning and Espen Sandberg (who commanded the positively sedate journey of “Kon-Tiki” in comparison), “Dead Men” reprises the series’ stalwart, alternatively dead and undead characters as they combat the vengeful Spanish spirit of Captain Salazar (Javier Bardem), a pirate-hating ghoul and his crew with a particular mad-on at Sparrow for afflicting them with their unholy condition.

Just as this film puts the band back together with a freshly villainous spin, “Dead Men Tell No Tales” arms Zanelli with a booty’s worth of memorable themes gathered from past “Pirates” scores, which abet his own hip, adventurous voice for the allegedly last adventure of Jack Sparrow. The Zimmer-commandeered series rudely re-invented all the wonderful clichés of pirate scoring into devilishly fiddling, jigging and brass-blasting in-your-ears rambunctiousness – yet still grandly paid off those clichés anyway. If anything, Zanelli’s swabbed these decks with just a tad of refinement for a terrifically exciting and fun score that delivers on the “Pirates” mish-mash of horror, excitement and punch-line humor – all of his gigantic musical cannons blasting with chorus, cellos and orchestra ablazing, and with some particularly gnarly and cosmic new themes for Salazar and Poseidon’s Trident to boot.

But then, one might say that Zanelli’s ascension to his biggest score shares much of the fateful destiny that drives the “Pirates” mythology. Composing on no end of soundtracks for Zimmer and his crew like “Antz,” “Pearl Harbor” and “The Machine,” Zanelli created a twisted Johnny Depp with his first major score for “Secret Window,” His prolific scoring career has since ranged from the arthouse (“House of D”) to thrillers (“Disturbia,”” “Hitman”) sweeping, Emmy-winning and nominated TV miniseries work (“Into the West” and “The Pacific”) sci-fi adventure (“Outlander”), charming romance (“Ghost Town”) caper comedy (“Mortdecai,” “Masterminds”) and the creepily kid-friendly (“The Odd Life of Timothy Green”). As hard to peg down as a pirate leg in his styles, “Dead Men” now shows just how rockingly adept Zanelli is at making a sizeable ship his own as he impressively sails into the Memorial Day weekend multiplex with music that excitingly hits all the notes of The Enchanted Kingdom’s singularly seditious movie take on their most beloved ride.


As a California native, I imagine you’ve been to the Pirates ride at Disneyland as a kid. What impressed you about it, and what effect did it have on you?

Pirates was a favorite ride of mine, for sure. I loved how immersive it was, and that each scene had some sort of punch line, or story point. You’re being taken through a whole narrative at a pace where you can absorb it all. There’s a spirit of adventure in that ride, and that same spirit was in all of my favorite films as a child growing up in the suburbs. Those films, like “Indiana Jones” or “Clash of the Titans” and the rides at Disneyland are all part of that daydream, and they feel very much like they’re a part of me. That’s why “Pirates of the Caribbean” was such an easy thing for me to get involved in.

Tell us about becoming a mate at Hans Zimmer’s studio. And what does it take to survive, and learn from an experience that’s caused other less hardy souls to jump ship?

Geoff Zanelli and scoring mixer Alan Meyerson. Photo by Dan Goldwasser

At this point, the only person who’s been at Hans Zimmer’s studio longer than I have is Hans himself, so yes, that means it’s an environment I’ve thrived in for quite a while. But “survival,” that wasn’t really the word that was on my mind. The very first professional studio I ever walked into was Hans’ place back in 1994. I was 19 years old when I came to Los Angeles without knowing a soul in music or in film. I don’t even know if there was a recording studio in my hometown, but even if there was, there still wasn’t much film music going on, so I had to make a move. I was really working against all odds, if you think about it. Somehow I talked my way into an internship at Hans’ studio and once I got that I just never went home. I didn’t get a foot in the door, or even a toe, it was just my toenail! Hans was writing “The Lion King” at the time and I was pouring coffee and cleaning the dishes so I could stay after hours to hear Alan Meyerson as he mixed, or absorb technical experience from the staff there, or my favorite: bringing coffee into Hans’ studio and walking back out of the room as slowly as possible so I could hear one or two more notes, or one more comment from a director as a meeting was going on. That was my early education, in addition to all the stuff I was doing during school months at Berklee.

I think over the years I just became a fixture at the studio. I don’t even recall a formal introduction to Hans or most of the people there; I just made myself trusted and dependable. Two years after that, I became John Powell’s assistant, which was really my first actual job in music. John was my mentor for three years and I wrote more and more additional music on his projects, and then one day Hans approached me to ask if I’d work on “Hannibal” as an arranger. So I found a little broom closet of a room there, set up shop and then for a few years, I was Hans’ arranger on all sorts of projects. We always worked well together, and you can imagine how much a young composer can learn from guys like John and Hans.

What’s the trick of writing in tandem to create a cohesive score, especially at Hans’ studio?

Scoring assistant Zak McNeil, additional music composer Anthony Willis (rear), additional music composer Phill Boucher, composer Geoff Zanelli, music editor Pete Snell (rear) Photo by Dan Goldwasser

The cohesiveness of a score that’s being written as a collaboration, in my opinion, is the responsibility of the main composer. All I do in the role of additional music composer is respond to the film, write something I feel strongly about, and from there it becomes a matter of Hans or whoever has their name is on the poster to direct it. So often, and Pirates is a great example of this, I’ll write something in isolation that works well or is compelling, or undeniably right for the film and then that starts to inform other aspects of the score. Tia Dalma’s theme, for instance, or the Cannibal Island music I wrote in “Pirates 2” are examples of something of mine taking on a life of its own. The score becomes cohesive as all those elements expand from their original form into other scenes. You can go find Hans’ original demos of “Pirates” themes and track the evolution of some of them through the film, to see another example what I mean. This is a testament to how Hans works, and how he collaborates with people. He never says, “Make it sound more like me” but he does say things like “I don’t know how you write strings like that. They’re very ‘Geoff.’”

How did your work on the “Pirates” movies evolve to the point where you captained your own ship in the franchise? And given that this is your biggest film to date, was that responsibility at all daunting?

I did find it daunting, but I found the first four daunting as well. There’s a lot at stake with every movie I work on and I commit fully to everything I do, so they all feel important to get right. This is a blessing and a curse, though. The work really does keep me up at night. The evolution of my role felt natural, though. Since I threw myself into the world of “Pirates” from the very first film, the commitment was identical on all five films. Being the composer of record was an organic extension of that, and in a funny way it was almost a non-issue. I was ready for it.


How do you think the first “Pirates” film upended that particular genre? And do you think its score did as well?

The score for “Curse of the Black Pearl” was one of a few crucial elements that elevated the film from being a very good adventure movie to being a franchise-launching, iconic and influential blockbuster. It was hard to know at the time how people were going to respond to it, but at least for me, as it was coming together, it really did feel like we were right out there on the edge as far as how you could write a pirate movie score. If you look at pirate music tradition, so often you arrive at flourishing woodwinds or sea shanties or something like that. We got more into the grit of it all, the splinters under the fingernails, the body odor and the muscularity of it. It’s really an orchestra treated as if it’s a rock band. As for the rest of the film, you can see Johnny Depp arrived at a similar conclusion. A lot is made of his using Keith Richards as inspiration. The cellos are our rock guitars, and we’re not afraid to put them through the guitar amp when we need to! And Gore Verbinski’s direction was crucial here, too. He talked about Elizabeth Swan being “Cinderella at a Metallica concert,” so it all adds up to the same thing. We were all approaching the whole thing with a rock and roll attitude, a sneer and a gallon of rebellion.

On the other end, did you want your “Pirates” to recall the more traditional sea adventures of yore?

Not so much, no. I think the strength of “Pirates of the Caribbean” is in that self-indulgent attitude. There’s a way of playing the romance of the ocean, or the mythology of the sea within that rock context. If anything, I pushed it even farther in that direction, particularly with Salazar’s music.


Given the rich history of the “Pirates” scores, did you do you own digging to see what old themes you wanted to bring into this score? And conversely, how “new” did you want to make your take on the music without rocking the boat too much?

I know and worked with all the themes already on the first four movies, so I didn’t need to go digging. Those are all part of my blood by now! But it was important to break new ground. There are so many new elements with characters like Carina Smyth and Salazar, a bigger focus on mythology, Poseidon’s Trident, plus Jack’s origin story that I really had to go experiment for a while to get those all to feel fresh. I didn’t think about rocking the boat or not rocking it. I just wrote what felt right for the film, and since I’ve been on board for all of the first four films my perspective is already part of the sound, enough so that it won’t feel like a departure.

Do you think that scoring such epic television series as “Into the West” (along with Blake Neely) and “The Pacific” put you in good stead for handling a movie with this kind of expansiveness?

I think my experience on the other “Pirates” films, as well as other Disney and Jerry Bruckheimer films was really what prepared me for this one. Actually, my work on the first “Pirates” film is probably what positioned me to take on “Into The West.” That additional music credit on “Curse of the Black Pearl” made a big difference, and people who worked on it were pretty vocal in praising my work, so there was more awareness of what I was really capable of after that. I don’t know that I’d have been entrusted to take on a huge miniseries like that on my own, if I hadn’t already succeeded on a big project already. I was still in my 20s when I got “Into The West”, and it’s hard to put into words how validated I felt to get a Steven Spielberg project.

A definite bit of fatigue had set in with the last film. How important was it to restore faith in the franchise, especially in terms of the energy the score could give this far better reviewed entry?

Well, I had a different experience with “On Stranger Tides” because I got to be involved with a lot of new material. I worked with Rodrigo y Gabriella on some of the legacy themes, and the Spain theme was mine, plus the mermaids’ sequence. So from my perspective, I was trying to get to a novel place with the music. Really all I did was carry that approach over to this one where the aim was to break new ground whenever we can, for instance with Salazar and Carina since they are crucial new characters. And then when I go and use themes from the earlier films I was trying to find a new way to play them.

Jack’s origin story comes to mind for that. That sequence starts with Salazar’s music that is new, but then it weaves through all sorts of things including many re-imagined versions of the iconic music from the earlier films. There were only a few places where I’d go and use the original arrangement of the earlier themes. That happens when you first see Jack, though. It turns out you really do want to hear Jack’s theme, pure and simple right then. Another cue comes to mind, which is actually the very first thing I ever wrote for a “Pirates” film all the way back during “Curse of the Black Pearl.” The one that’s called “Barbossa is Hungry” on the album, that was actually me working up a variation on “He’s a Pirate,” but it took on a life of it’s own. A version of that gets used twice, and that’s a great example actually of how my voice came through on the earlier films, without many people knowing it’s actually my voice.

One particular shot of freshness comes from the saga’s new directors Joachim Ronning and Espen Sandberg, who’d done the far artier sea adventure “Kon-Tiki” before this movie. What kind of sensibility do you think they brought to “Pirates,” and what was your collaboration like?

We had a great collaboration, right from the start. Both Joachim and Espen are huge fans of “Pirates,” and they poured themselves into this film in a big way. I think they made a smart choice in aiming the tone of the film, the story, the look, the attitude squarely at what made “Pirates” great in the first place, which is a concise but interesting story that deals with a few characters involved in a larger than life plot. “Pirates” isn’t really about giant armies fighting each other; it’s about a few people whom we get to know intimately over the course of the film, set in a world that’s enormous. And it’s not afraid to be emotional, or scary. Espen and Joachim recognized those things and it really shines in this film. They were with me every step of the way.

Given the long time that this “Pirates” was in post-production for, did that you give more room to experiment with the score?

We did have a good schedule for this film, and yes that allowed me to experiment for a while longer than usual. I had the gears turning before they even shot the film, though, cause I got to read the script and carefully consider things. I think where it helps the most is in the architecture of the score, the way the themes are laid out and how they can each progress from scene to scene. That’s the job when you’re getting the main credit, and it differs from the earlier films where I was working in support of Hans. What I try to do is look at the big picture, figure out what each theme is going to need to do, break that all down into smaller and smaller problems, and only then do I start writing the theme.

Tell us about your theme for Salazar and his particular curse?

Salazar has a big story arc in the film, so his music gets to evolve in the score. We meet him in the present day and he’s just a vengeful, hateful creature bent on destroying all pirates, so that music is raw, muscular and dangerous. That’s where I started layering all sorts of twisted sounds, like Adam Peters’ cello through a horrible guitar amp, plus Martin Tillman’s acoustic cello just digging in with such malice and attitude, layered with a choir, the orchestra and some bizarre woodwinds. They all add up to a single minded, nasty sound! But we also see his backstory where you can learn his history and how it intertwined with Jack’s, and there he’s a mortal Spanish captain, a military man. So all that music plays later in the film, and you can hear where his theme came from, but only after you have already heard where his theme and character ended up.

This “Pirates” gives us the origin of Jack Sparrow. What kind of musical opportunity did that provide in showing a perhaps more grounded take on him before turning into the eccentric scallywag we know and love?

Actually, in the same way that you hear Salazar’s musical origins in retrospect, you hear Jack’s, too. The sequence, to me, is really about the actual moment in Jack’s life when he becomes Jack Sparrow. It’s the defining moment for him as a young boy. It’s also the same moment when Salazar becomes the twisted, cursed version of himself. A double origin story! And their stories are intertwined of course.

This sequel also brings back a lot of fan favorite characters. How did you want the music to show their growth?

Jack, in the present day scenes at the start of the film, is down on his luck, so his music has undergone a turn for the worse. It leads him to set in motion some pretty drastic, bad events, so that all had to be played with enough seriousness that you can believe Jack would be desperate enough to make some questionable choices. And then you have Barbossa, who goes through some amazing revelations during the film. I took the approach that he becomes a legend in this movie, part of the overall “Pirates” mythology so his music is actually informed by what I would call the “Myths of the Sea Theme,” for lack of a shorter name for it. I mean, if the constellations were named after “Pirates” characters, this is the film that would immortalize Barbossa in the stars, let me put it that way. So while there are some nods to the old themes we used for him, there’s a lot of new material, and it even ties in with the mythology of other pivotal characters in the series. I don’t want to give away too much, so I’m tiptoeing around the answer right now, but I think of Barbossa as the quintessential pirate and I wanted the music to embody that. He transcends his own character. He becomes lore in this one.

How did you want to embody this film’s central mystical object of the Trident of Poseidon?

The trident is part of the myths of the sea as well, but in a different way. It’s a tangible object, and the thing that everyone is trying to get to throughout the film. There are puzzles to be solved, and it’s all linked to a hidden place called Blackrock that Carina thinks she knows how to find. Carina, being a scientist, thinks of it as a problem that science can solve, but as she learns more about the world she lives in she finds there are things that simply can’t be explained by science. Once she’s armed with that knowledge, she can combine elements of both approaches and arrive at the answer.

What’s the importance of balance contemporary instruments like the rock guitar with more ancient ones like the Duduk in creating the pirates sound?

I think the only time we used an electric guitar was the third film, but I’m definitely abusing some cellos by shoving them through guitar amps this time around. The whole orchestra even gets put through that mayhem from time to time. The thing is, with a world as colorful as “Pirates,’” you can really use any instrument you want if it helps tell the story. I used to say things like “it is the composer’s right to go looking for new sounds” when people would ask why there are synthesizers in a score about “Pirates.” Now, I double down and say, “it’s the composer’s responsibility to go looking for new sounds!” Anything that helps convey story is fair game, as far as I’m concerned. You’ll hear a Duduk in this score when I’m dealing with ancient ideas, like mythology or Poseidon’s trident. But when we get supernatural, like with Salazar, I’ve gone and searched for something distinctly contemporary.

What’s the challenge of balancing the often eccentric, wisecracking humor of a “Pirates” movie with suspense, often in the same cue?

The film really leads the way with that. I’ve always been good at making sharp turns as the movie dictates, and that’s why I wrote so much action music in my early career. I’m pretty energetic as a person, so it’s natural for me, and easy to understand when and where the gears are shifting. So the challenge really isn’t in knowing when to make certain moves with the music, it’s really more in designing the detail that I want to have in there, the stuff that makes me feel like I’ve finished the cue and there’s nothing left that I can do to improve it. And the guiding principle in all of that, always, is the story. In action sequences, the story might be divided up into tiny little slices that each need to be acknowledged. It’s different from building or sustaining an emotion, where you are writing a much longer gesture, and the “Pirates” films are full of examples of both approaches.


This “Pirates” also gives us a return to the more horrific elements since the first skeleton-filled movie. How did you want to convey the unholy forces at play here?

We might scare some people this time, I’m glad you point that out! Carina is really the audience’s entry point for that, I think, since we witness her whole world come crashing down. She’s spent her whole life believing that science is all you need to explain the world, and she learns that things can be supernatural, unexplained, and just plain terrifying. For all of that, I wanted a larger than life sound and a lot of that relates to what I do with Salazar’s music, looking for a combination of sounds and instruments that makes it distinctive and specific. I’m layering all sorts of sounds, some which are easily identified and some that are not, in hopes that it adds up to people wondering “what is that sound?”

Given how fast and furious the action and effects get in these movies, what’s the trick to scoring their action sequences?

Detail, and giving each setpiece and identity are two things that come to mind. And again, it’s about telling the story the best way possible. The filmmaker David Koepp (“Secret Window”) once told me that every person who works on a film in any capacity should have on their business card “assistant storyteller.” Music is crucial for that, it’s the thing that exists in the air in the movie theater, it bridges the gap between the audience and the movie, and that applies not only to action sequences but anything that you’re playing music for.

The chorus also gets a particularly stirring workout here. How did you want to employ it?

There isn’t an instrument that exists that’s as expressive as a human voice, so I find it’s a very direct way to involve the audience in something, particularly something extraordinary. If there’s a moment of awe, something that’s hard to process cause it’s so large in scale, I use the choir to keep you engaged. It’s also something I use for creating discomfort or mystery, so the trident and Salazar get some pretty odd usages of the choir. And of course it just sounds huge to have a mass of voices all singing.

Nick Glennie-Smith conducts the string session. Photo by Dan Goldwasser

You’ve got as much of a massive sound for this “Pirates” with its orchestra and chorus. What were the recording sessions like?

We had a huge group for this, nearly 200 musicians all told, and sometimes multiple orchestras layered on top of each other so there was no shortage of size at my disposal. That’s a rare luxury in this day and age, but I have Disney and Jerry Bruckheimer to thank for that. They’re the ones who understand the value of putting together an enormous session like that, and they really do help musicians by remaining committed to recordings at this scale. Right now, I think film music is doing a lot to keep orchestras alive and I feel privileged to be part of that.

Recording this was just a joy. Scoring sessions are like the World Series for me. They are tons of pressure that only goes away if you work as hard as you can in there. But one thing you have to know about the musicians that come and play on “Pirates” scores is that they just love to play this music. If you add up all the experience for all 200 musicians you’re looking at something like 4,000 years of practice, blood, sweat and tears, probably more! And all they want to do is make the best recording they can, day in and day out. So I get great results from them, I just talk with the players constantly about what the scene is about, why I wrote what I wrote, and then I leave space for them to come meet me, so to speak. And every single time, they lean into it and play their hearts out. Plus, Pirates has a unique angle, what with the rock and roll orchestra and some amount of irreverence. They get to loosen up a bit, play rougher, let the edges show a little bit and that’s exciting for all of us to get to hear.

One important musical voice that’s back is cellist Martin Tillman. What kind of voice do you think he brings to the “Pirates” scores, and particularly this one?

Martin Tillman

Martin is Jack Sparrow. It’s as simple as that. In fact, you have to look to Itzhak Perlman playing “Schindler’s List” to find as good an example of a piece of film music being inextricably linked to a specific musician. I got in touch with Martin when I started writing to make sure he could join us, and my blood pressure went back to normal when he signed up. I had Martin play the Salazar theme as well, but in a very different voice and attitude. It was just nasty, really scrape-y and it argued with Adam Peters’ electric cello, which was recorded first, perfectly. I love the idea that Jack and Salazar were both voiced by the cello, but Jack was just one guy and Salazar was layer upon layer of electric and acoustic celli, more massive, more dangerous and threatening.

But why stop at two when you can have three? Tina Guo also played on some of the Salazar music, in particular the crazy and fast stuff in the shark attack sequence and what we called the cannon fight. So there’s three distinct cello voices in this film, and sometimes they play nice together, and sometimes their sounds clash in such beautiful ways! Tina Guo, by the way, goes on tour with Hans and she plays the Jack Sparrow melody when they play “Pirates”, but she does a smart thing with it. She makes it her own so it’s not a Martin Tillman impression, which would cheat both the audience and her. That music plays great in a live setting. it brings the house down every time!

How do you think this “Pirates” film stands in the franchise, and your score along with it?

That’s for the audience to decide. I know that Joachim and Espen were as devoted to “Pirates” as Gore was, and that it wasn’t lost on me how important it was to really try and deliver a score that lives up to the legacy I was already a part of. I reminded myself from time to time that this really is going to be a lot of people’s favorite movie this year, or maybe ever, and it had to be fully committed. I meant every note of it.


“Pirates of the Caribbean: Dead Men Tell No Tales” opens on May 26th, with Geoff Zanelli’s soundtrack available on Walt Disney Records HERE

Visit Geoff Zanelli’s website HERE

Categorieën: Filmmuziek nieuws

Interview with Aaron Zigman

Film Music Magazine News - Di, 16/05/2017 - 23:15

There’s dropping out of the rat race. And then there’s really dropping out. For the sardonic, disaffected Howard Wakefield (Bryan Cranston), it’s using a breakdown in his usual commuter train route to NYC suburban malaise to take a trip straight into his garage attic. There he stays for months, and maybe forever, looking across his driveway to watch his wife and daughters cope with his seeming disappearance, and grow to discover a new life without their jaded breadmaker.

Staying mostly silent throughout (apart from the flashbacks that show what drove Howard to isolation), it’s Wakefield’s first-person narration that imparts the listener with his caustic viewpoint, sardonic self-recrimination that gradually grows into a far more meaningful spiritual realization. The same can be said for Aaron Zigman’s profound, hauntingly melodic score that gets into Howard’s headspace and makes us understand a man alone, even when he once was part of society. “Wakefield” is a multi-layered, multi-thematic score of dazzling complexity, the summation of a prolific composer who’s ranged from the tearful emotionalism of “The Notebook” to the epic fantasy that paved “The Bridge to Terabithia” and the wacky comedy of “The Proposition” among dozens of scores.

Zigman’s time with Howard’s physical, and mental transformation opens up a world of styles to explore here, searching through tender strings and piano, rat race rhythms, eccentric humor, jazzy hubris, blissful godhood and the panic of being chased by Russian scavengers among the many facets of Howard. Capable of intimacy and lush orchestrations, Zigman’s “Wakefield” is the height of musical introspection and suspense, as well as the vital glue that, along with Cranston’s daring performance, hypnotically fills Robin Swicord’s beyond-intimate film. For Zigman, it’s music that’s as much about his own journey to reach a personal, and professional apex as he fills a garage’s second story with an enormity of an unlikely hermit’s life choices.


You’ve always had a skillful approach to melody in scores like “The Notebook,” “The Bridge To Terabithia,” “Flash of Genius,” and “Mr. Magorium’s Wonder Emporium,” which you co-composed with Alexandre Desplat. Do you think that’s something missing in many of today’s scores?

I think that memorable tunes that are achieved primarily by the four bar phrase—or just melody in general—are somewhat diminishing in today’s film music.

You’d scored Robin’s directorial debut “The Jane Austen Book Club.” What was your collaboration like this time?

Robin Swicord - Photo by Gilles Mingasson.

The collaboration was only different in the sense that Robin and I had already worked together before, so there was a deeper understanding and a more intuitive process. I had known about this script four years ago, so I was able to send Robin a lot of material that we could cull from. We were also not emulating a piece of temp music, but rather working from a concept, which, in my opinion, paved the way for a more original score.

There are a remarkable number of themes in “Wakefield.” Could you talk about developing them?

Years ago when Robin was writing this script, she and I spoke and she said she wanted a score in the style of “Vertigo” by Bernard Herrmann. My response was a piece of music that I sent her in that style while retaining my own voice and she was really moved by it. That piece of music was like an overture to the story. One of the things I’ve always felt strongly about is that when a script is well written I don’t need to see the picture to write themes for the various characters. That was the case with “Wakefield.”

How did you want to convey the meaningless, suburb-to-city rat race that starts “Wakefield?” as well as Howard’s yearning to break free from it?

Jennifer Garner, Bryan Cranston - Photo by Gilles Mingasson

Actually, I did not want to stamp the story as present day, especially in light of the fact that the original story was written by Nathaniel Hawthorne in 1835, with a variation of the story written by E.L. Doctorow. I trusted my instincts and used music that wouldn’t comment on modern present day but convey almost a timeless impression so that whatever “Wakefield” said in the narrative, written by Robin, it would not be foreshadowed by the music.

Most of “Wakefield’s” dialogue is heard through Howard’s first person narration. What challenge did that give you in the respect that a great deal of Bryan Cranston’s performance is silent, and your music has to speak for what’s going on in his head?

I so identified with Bryan’s character—not about doing the unthinkable—but with his yearning to break free of the things that bound him to a lifestyle that was not working for him because I am a person who believes in behavior modification. Over the last four years I have worked on myself and breaking free of chains that hold me back. I, too, am exploring a metamorphosis like this character.

When you have a film about a person secreting himself in an attack, it’s usually the domain of outright horror films like “Hider in the House.” How did you want the music to convey that “Wakefield” wouldn’t go in that direction, while also giving suspense to just what Howard is going to do?

Bryan Cranston - Photo by Gilles Mingasson

I wrote music not indicative of that style. It was actually the antithesis. I created music that used melody to convey an emotional fabric and I tried to stay away from being literal in any sense. To me the attic was not a creepy place, rather it was a place of refuge for Cranston’s character to sit with his thoughts, wrestle with his own human frailty and deal with his own self-grandiosity so that he could make his eventual transformation.

There are many spying sequences of “Wakefield” that recall “Rear Window,” as well as the danger of him going outside of his attic. How did you want the score to communicate that kind of on-edge creepiness, as well as the emotion of what he’s missing out on?

I used very dissonant harmony, not in the sense of the horror genre, but to convey anxiety.

Some people might look at Howard’s quest to find himself as a highly selfish act. Was it important for you to give the character empathy he might not otherwise have without the music? And did your scoring of Howard change your own opinion of the character?

Absolutely. It was important to use the music to create a path of emotionality and tenderness so that the viewer would be open and empathetic to the fact that this guy is not only a self-absorbed person but also a man who might be seeking to find himself. I wanted to create beauty in the music so that the audience would not interpret the movie in a myopic manner.

Did you want the garage attic to become a musically magical place, capable of bliss as well as danger?

I wanted the attic to become a place of quietness. I stayed very minimal in the attic and I wanted to sustain that sense of a place where the character could organize his thoughts and change his viewpoints on life. I didn’t see it as a magical place as much as a place of solace.


There are a surprising amount of musical styles to “Wakefield,” one of which is jazz, which is mixed with a particularly lush and sensual orchestra for Howard’s wooing of Diana in a way that’s film noir-ish. Did you want to go for that kind of classic, retro use of jazz? And were there any composers you wanted to pay tribute to in that respect?

Jennifer Garner - Photo by Gilles Mingasson

There were actually only two short jazz cues in the film, both of which were in the style of Thelonious Monk. I used these to convey some comic relief in an otherwise tense drama. The music of this film was more about paying homage to some of the great film composers of our past like Nino Rota and Bernard Herrmann.

There’s also playfully twisted, almost waltz-like comedy to “Wakefield” to reflect Howard’s sarcastic worldview, and even very funny doorbell-ringing suspense. Is it difficult to put absurdist musical humor into an otherwise dramatic score?

I wrote some waltz-esque rhythmical cues, but I tried to stay away from the traditional pizzicato articulation. I had the strings play an arco articulation so that the chords could be heard and felt and you could feel the oddity and the skewed quality of its dissonance. I wanted the comedy to be left-handed instead of using a generic or more pedestrian approach. For instance, I even used gamelan instead of marimbas to create a percussive feel in the comedy sequences.

Howard develops an almost Jesus-like relationship to the challenged kids next door to him. How did you want to convey their giving, emotional purity and the potential salvation they deliver to Howard?

Bryan Cranston - Photo by Gilles Mingasson

The autistic children that were used in this film by Robin Swicord were an example of purity to “Wakefield” because they were untainted by life’s adversities and every day problems. They were a mirror for Cranston’s character to be able to see himself through a transparent lens rather than a translucent one so that he could reconnect to humanity in a different way, in a way that is loving and kind. Instead of being threatened by these characters, he realizes through these children all the things that he was missing in humanity, such as kindness and unconditional love that so rarely exist in the universe. So I wanted the music to have an emotional quality whenever he was with these two characters and have a real poignant effect on the viewer so that they could see “Wakefield” in a different light, as well as pave the way to make his journey toward redemption.

Given the intricacy of “Wakefield’s” score, what are some things about the score’s construction you’d want people to realize that might otherwise elude them?

The most important thing is that I want them to understand that this is a period score to a modern drama. And, in my humble opinion, with the exception of many of our great writers, the scores in the past were more sophisticated in their harmonic construction and I would hope that audiences sense that about this score, too.

I can only imagine how many endless hours you’ve spent locked in your studio. In that way, how did you draw upon your own experiences with the self-realization that comes from isolation, or even moments of madness, to create the musical character of Howard?

I do identify with this character because I have had to deal with a lot of adversity and I have had to take accountability to achieve redemption. I really responded to his metamorphosis. Especially the aspects of contrition, self-examination and being open to change and focusing on the things in life that is important. So, it was quite easy for me to stay in my studio for hundreds of hours and write this music. I could have happily worked on this score for a lifetime.

With all of the scores you’ve done, “Wakefield” just might be your best work to date. What do you hope that “Wakefield” does for peoples’ musical impression of you?

I’d like filmmakers to recognize that I know how to be emotionally evocative without being saccharin. I hope that my work conveys that I am a serious dramatic writer who can write music that can achieve a director’s vision while saying something powerful and meaningful without overwhelming a film.

What do you think that “Wakefield” and its score have to say about the human condition when a character so starkly deals with himself?

Aaron Zigman - photo by Eugene Powers

In contrast to the question, I want to respectfully say that Howard’s actions and condition never seemed stark to me. I saw his predicament as a matter of life and death. If Howard never left his family and the comforts of his seemingly successful career and lifestyle, he never would have become the enlightened human being he becomes and he never would have achieved redemption. He would have died an unevolved person. Every human being should have the chance to become the best person they can be. And that message is the power of this movie.

“Wakefield” opens in New York on May 19, then in Los Angeles and select markets and on VOD on May 26, with Aaron Zigman’s score available this summer on Decca Gold

Visit Aaron Zigman’s website HERE

Categorieën: Filmmuziek nieuws

Audio: Interview with Tyler Bates

Film Music Magazine News - Wo, 03/05/2017 - 14:23

ON THE SCORE is sponsored by La-La Land Records

In a scoring career that began with 1993’s alien-filled “Blue Flame,” Tyler Bates has explored myriad worlds of music, whether it be the beat jazz of “The Last Time I Committed Suicide” the sexually-driven groove of “Californication,” the cool killer percussion of “John Wick” or the terrifying knife-metal of Rob Zombie’s “Halloween” reboot. But given his muscularly powerful work, few genres that Tyler Bates has played have been as impressive as films that take their origins from graphic novels and comic books – the last stand of The Spartans in Zach Snyder’s “300” rising Bates to a new level of musical adventure with its brash combination of rock and ancient orchestral tradition.

     

Often putting numerous stylistic approaches into the body of one score, Bates merged an elegiac symphony with bold anti-heroism and industrial kick-ass for Snyder’s epic take on the “Watchmen.” It was an unhinged approach that marked him as an ideal partner for the in-your-face attitude of filmmaker James Gunn. Their partnership has encompassed the deliberately gross-out approach to “Slither,” the God-like chorus that delivers a mission of violent justice to the unbalanced vigilante of “Super” and the satirically sanitized groove of the web series “PG Porn.” Yet though they share an indie spirit, “The Guardians of the Galaxy” truly rocketed Gunn and Bates into the stratosphere with their exciting treatment for the universe’s wisecracking saviors. But if this team-up of a tree, green Amazon warrior, a rabidly irate raccoon and cocksure human Starlord gave the finger to convention, leave it to Bates’ music to deceptively play their heroism for all it was worth. Delivering a theme as memorable as any superhero opus, Bates brought cosmic choruses, pulse-pounding excitement and best of all real humanity to these Guardians.

Now as Gunn flips open a second volume for “The Guardians of the Galaxy,” Bates returns to the hip fight with a score that’s as gigantic as Ego the Living Planet with it rousing orchestra, smashing percussion, a chorus as big as heaven itself and the sensual samples of sexy empathy. But perhaps most impressive is just how much heart and nobility that Bates’ supremely melodic score gives to these upstart space avengers this time out. It’s exciting musical camaraderie that ranks high amongst Marvel’s movie scores, a mix of adventure, humanity and humor that the composer discusses in a new edition of On the Score.

Click above to Listen Now or Click Here to Download

Meet Tyler Bates at Burbank’s Creature Features on Saturday, May 6th at 2PM as he talks about “Guardians V2″ and signs V1 CD’s. Find out about the event, and how you can order your personalized soundtracks HERE

GUARDIANS OF THE GALAXY: VOL. 2 Buy the Soundtrack: GUARDIANS OF THE GALAXY Buy the Soundtrack: THE BELKO EXPERIMENT SUPER SLITHER Visit Tyler Bates’ website
Categorieën: Filmmuziek nieuws

Interview with Mandy Hoffman

Film Music Magazine News - Ma, 01/05/2017 - 21:17

One might say there’s a waltz to the Pas De Deux of infidelity, the steps taken to hide illicit lovers while feigning the deadening routine of a longtime marriage, or long term relationship. But then, while we Americans might poo-poo this sort of thing, dallying with mistresses and Lotharios seems to go down just non-judgmentally fine in France, especially in their comedies. The American indie “The Lovers” delightfully has it both ways, no more so than in its gorgeously swooning score by Mandy Hoffman. Dallying with the classic romantic spirits of Georges Delerue (“Jules and Jim”), Nino Rota (“Amacord”) and Paul Misraki (“And God Created Woman”), Hoffman’s music casts a rapturous spell as schlubby husband Michael (Tracy Letts) and nonchalant wife Mary (Debra Winger) fall in love again. The neat conceit of filmmaker Azazel Jacobs (“Terri”) is that they turn into cheaters on the people the high-strung dancer and wannabe poet (Melora Hardin, Aidan Gillen) that they’re cheating in – resulting in the kind of roundelay that’s been the stuff of life for such directors as Francois Truffaut and Eric Rohmer – as transferred to our screens. But listening to Hoffman’s wondrously full-blooded thematic score will likely make cineastes think they’re back in the Gaelic glory days, a sound whose waltzing orchestral richness ironically belies a quite intimate indie film – music that captures the spell of rekindled romance, as well as the moral blowback that must ultimately arrive.

Residing in Manhattan as opposed to Paris, where this sort of ultra-melodic thing is also the norm, Mandy Hoffman has composed a score that will perk up the ears with its pure, unashamed lavishness. A dead ringer for Zooey Deschanel, and with a talent that will hopefully reach those converse heights, Hoffman has long been about the indie scene with a far more alternative sound. Beginning her scoring career with Jacobs’ “The GoodTimesKid,” then reteaming with him for “Momma’s Man,” “Terri,” and the HBO/ SKY series “Doll & Em.” Hoffman’s credits have included such character-centric shows as “The Mop and Lucky Files” and the forthcoming Amazon series “I Love Dick,” as well as the film “Ana Maria in Novela Land.” “The Lovers” is her biggest jump from the cool eccentricity to a Hollywood-distributed film, and her biggest sound at that, revealing a symphonic talent that will likely land her more creative affairs to come.

How did you get your start in the business?

I was a musician as a child, I played viola and piano. They came to me very easily. I also had a real problem with discipline, I would start making up my own music. I had friends who were also musicians, and wanted to form a band with them, they didn’t get it. For a while I stopped playing music altogether, up until my twenties where I had a serious relationship with a songwriter and rediscovered I ended up in this ten-piece band called The Rogue Burns Ensemble. They were great musicians, but somebody had to help organize it, and that fell into my lap. I played these toy instruments while another guy read his poetry. We did soundtrack music as well. I particularly liked retro film scores like from the sixties that had really moody instrumental stuff.

Dana (L) and Mandy Hoffman (R ) on the piano

I ended up moving to Los Angeles with this guy I was in a relationship with, and had a horrible break-up there. I didn’t know anybody in town, but I decided to stay and just be by myself for a while. He’d given me this four-track. As time went on I kept hearing from people that my music was very cinematic. Yet even when I was a child, I always thought of myself as musical writer of narrative, a storyteller. The scores of John Williams really took me into movieland. And I finally got to see it when a friend introduced me to Josh Mancell. He was working at Mark Mothersbaugh’s company Mutato Music. I was blown away the creativity I saw, and knew that this was what I wanted to do with my life.

I asked if I could work there, and was told that I should to go to UCLA”s film scoring program study serious composition. Right when I started I met Aza, who he asked me to do his film score for “TheGoodTimes Kid,” which was like a toned-down version of “The Lovers.”


“Toned Down?”

Yeah, really toned down! I was going to school with a lot of jazz people, and some of them played on my hodge-podge score. People still mention it to me, and it really is one of my favorites. I did things on it that I probably wouldn’t do now, because I didn’t really know any better at the time. It just seemed to work. I got a couple of write-ups from a few critics who said it sounded like Nino Rota’s scores were “being slowly digested by a boa constrictor!” That wasn’t intentional, it just happened, because I was just writing from my gut. It made realized how much the scores from the 70’s and 80’s really had an effect on me, especially Nino’s “The Godfather.” It was really an era when film music was all over the place. You had disco. You had Bernard Herrmann, whose work for Hitchcock I also particularly loved.

How was it for someone who was self-taught to have had to learn “self-discipline” in film score structure by taking classes?

It was challenging because I didn’t have this corporate goal in mind like the people around me, who wanted to be the next Danny Elfman or John Williams. I didn’t want to be that. When Aza asked me to score his next film “Terri,” I wanted to do something big, but Aza didn’t want that. So we kept it small and innocent because of the children in the movie. I ended up working backwards because I had written a piano piece for the end, which Aza really liked, and wanted to base the score on that sound.

“The Lovers,” is certainly a score that sounds big, which creates a sense of irony for such an intimate film.

I felt that “The Lovers” needed a big score. The actors were delivering these solid performances, and the music needed to fill in the gaps that that they were intentionally leaving out. It was like there was this conversation being said without a word being spoken, and I wanted to show that part of the story. When we started, Aza had asked me if I wanted to work on certain themes for different couples and characters. I didn’t want to do that, but to instead have this universal theme for them.

Was it important for the score to give a certain empathy to the characters that are constantly cheating on each other, something many people wouldn’t particularly approve as being a likable trait?

photo by Rob Rosenfield

I didn’t think I needed to get into the characters in that way. I felt as if I were a bird nearby, watching as these events as they were taking place. So I didn’t feel so much pressure to make a “statement” about anybody’s behavior. My dad was really into French cinema, which I watched a lot when I was younger. In those old movies, everybody cheated on each other, because that that’s the way it is in France! I don’t think that’s as commonly seen in that way for American audiences. Everybody in “The Lovers” is seriously flawed. The adults just seemed like children. So it was about my score catching the in betweenness of their lives, their grey areas that are not the black and white realities that we’re so used to.

“The Lovers” essentially is a French comedy in that way.

I have gotten comments that my film scores sounded French. I really don’t know what that means but maybe because I play the accordion? I really feel that most 50’s French scores have a uniqueness that doesn’t sound like the comedies in America tended to at that time. Today’s film scores tend to sound very homogenous, where they use the same clichés over and over, something they didn’t do back then. They had a voice, particularly in France, where they used strange instrumentations.

photo by Charchi Stinson


What about “The Lovers’” waltz-like quality?

Aza loves waltzes, so I knew I would be writing in ¾ time for those moments. The whole waltz thing happened when I was banging my head tying to write for a key scene. Aza had mentioned an old French film to me at that time. He wanted this carnival-carousel kind of music for the film, for this kind of ride to be taking place – this kind of youthfulness happening for these immature people playing games on each other.

If you were to strip away the music, “The Lovers” might not end up being as funny as it is. How important was it to capture the humor?

Well, I try not to score things as being “funny.” I’ve done a lot of comedies. For me, comedy is all about timing. I don’t like the music to dictate what should be funny. I had struggled with another project where the director wanted me to score funny for this scene that was already funny to begin with. Humor works better when there’s depth to it.

You’ve really captured the joy of being swept up in newfound romance.

I have written romantic music before but this was more like “soap opera” music without being a soap opera! I was really inspired by Alberto Iglesias’ music from Pedro Almodovar films, which are like soap operas, without the cheese.

photo by Rob Rosenfield

There’s this weird brass thing happening in some of the score, which seems like it might seem like a mistake, but it ends up being really funny for Tracy Letts’ husband – a guy whom you wouldn’t think of as a babe magnet.

I felt that that was my “comedy” music for “The Lovers.” I had these strings playing pizzicato, plucking where the musicians felt that I was doing a big mistake. We actually didn’t use much brass for the film, but when I did, I wanted this kind of growling for one of the character’s frustrations. I had written this crazy, 50’s inspired violin run for one of the female characters, making her seem like a real psycho, which I really loved but they made me take it out. They felt it was too dark for the film.

“The Lovers” does get increasingly dark by the end. How did you want the music to capture that tonal shift?

photo by Rob Rosenfield

I tend to go dark anyway, and “The Lovers” seemed like it needed this graveness to it. In the end, I was inspired by the score to “Vertigo,” which was an approach that had different textures that were not in the rest of the score. I had the harp doing these harmonics throughout the film but I made it more noticeable by the conclusion. I also brought in this xylophone to create this weird harmony.

How did you get such lush symphonic quality for your score?

I worked with a great orchestrator named Patrick Zimmerli, who’s a great jazz composer in his own right. He’s a New York guy and he does a lot of “new” music. He normally doesn’t touch the film world. I felt like he is such a great composer that I wanted to live up to his standard, and wanted him to dig what I was writing. I really wanted to challenge him, too and he really enjoyed it. We really didn’t work too closely together, I just more or less just handed him the score and he did his thing. There really wasn’t too much change from my mock-ups, but he made it all sound a bit more human.

photo by Pat Reynolds

I wrote “The Lovers” pretty much in the same e-flat key for continuity purposes. Of course, there were some changes here and there, but it was mostly in e-flat. As you know, strings don’t play too well in flat keys, which I did on purpose because it had a darker sound, and I didn’t want the score to sound too happy. I think the e-flat has been compared to a “majestic” key because there’s something rich about that. In the last two cues, I switched to “sharp” keys. You can hear that the string players are much more confident playing in their natural keys, which makes it sounds brighter and happier, because Aza wanted this happy resolve to the score. That’s why I shifted my approach. There was this piece of temp music at the end that I liked a lot but he said it wasn’t doing anything where it should be happy and sweet. I was scratching my head on what he was trying to convey towards me. Then it hit me. What Aza really wanted was a lullaby! He wanted me to put this movie to bed, so I wrote this piece what he wanted and that’s what closes the movie. It was the last week of the film and I was able to pull it off this lullaby that’s like the carnival that ends the film, I was very happy at his suggestion and the score turned out better for it.

What’s up after “The Lovers?”

I’m working on a new Amazon comedy series called “I Love Dick.” It’s a story about these people who move to this small town in Texas, where they don’t really belong. I get to write some crazy Tex-Mex music and country music for the show that I play on guitar, accordion and pedal steel guitar. Pedal steel is such an underrated instrument. It has this depth and wit to it that really brings out something in the score. I would really like to work more with that instrument in future. I also got some horn players doing mariachi-style playing, so this is “comedy” music that’s more on the nose than “The Lovers’ ever could be.

What’s it like to be a female composer in Brooklyn?

Pretty much all of my clients are in Los Angeles, so it’s been a challenge. I think I have been passed over a bit because I am a female composer, no matter where I live. I think most in this business thinks that it’s a man’s job. These days I’m very excited to see female composers such as Mica Levi having such a strong voice and breaking all these rules. She has made some fucked up shit. She’s such a huge hero to me. I think a change is happening these days because of strong people like her. And I’ve been working with a lot of women directors lately. I find it kind of easier in a way to work with them, because they give you more creative room and trust. Aza is an exception being a sensitive guy of sorts, but I feel that female directors tend to give up a little of their power to entrust it to me. They don’t want to micromanage me.

Director Azazel Jacobs and Mandy Hoffman (photo by Pat Reynolds)

How do you feel about the potential of doing big budget films after so much time spent in the indie world?

They kind of scare me because there are too many cooks in the kitchen, and so many opinions can make the end result not as good. I see a lot of it in advertising. If you look at it, most advertising music is crap. There are too many opinions, but there are a couple of companies out there that are doing good quality work.

Do you view yourself as a musical non-conformist?

My husband David Morrin is a classically trained guitarist who’s really versed in pop music. He loves The Beatles and The Beach Boys, which I skipped. Being the musician that he is, he doesn’t always get what I’m trying to do. Even I don’t try to conform to what I’m trying to do!

photo by Daniel Schweiger

In the end, what do you want people to realize about your score for “The Lovers?”

That there’s a lot of blood, sweat and tears in this film, especially because I happened to get pregnant during it. For the first time I felt that I didn’t have to give an explanation on what I was doing on a movie score. This is music that just speaks for itself.

“The Lovers” opens in theaters May 5th with its soundtrack available on Milan Records HERE

The “I Love Dick” soundtrack will be available for download on Amazon Music May 12th

Visit Mandy Hoffman’s website HERE

Special thanks to Alexander Portillo for transcribing this interview


(cover photo by Daniel Schweiger)

Categorieën: Filmmuziek nieuws

NEWS: Weekly Roundup: April 28

Soundtrack News - Za, 29/04/2017 - 02:00
Announced this week were new composer assignments for [c.564]Christophe Beck[] ([m.49218]Frozen 2[]), [c.1533]Nick Cave[] & & [c.1534]Warren Ellis[] ([m.49217]War Machine[]), [c.1187]Blake Neely[] ([m.49223]Simon vs. The Homo Sapiens Agenda[]), among many others. For the full list of composer and music supervisor assignments from this week, [url./composers/]click here[]. Over 30 new soundtrack albums were released this week. [da.2017-04-24]Click here for the full schedule[]. Opening in theaters nationwide this weekend is (with music by): [m.46315]The Circle[] ([c.58]Danny Elfman[]) and [m.46721]How to Be a Latin Lover[] ([c.1224]Craig Wedren[]. Among all new theatrical releases, we are tracking song credits for: - [m.46315]The Circle[] (10 songs) - [m.46721]How to...

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Categorieën: Filmmuziek nieuws

NEWS: WaterTower Music to Release 'King Arthur: Legend of the Sword' Soundrack

Soundtrack News - Vr, 28/04/2017 - 02:00
WaterTower Music today announced the release of the soundtrack to filmmaker Guy Ritchie's action adventure [m.40891]King Arthur: Legend of the Sword[], in theatres May 12, 2017. The album features music from Golden Globe-nominated composer [c.1318]Daniel Pemberton[], and will be released in both a 26-track standard edition available on CD and digitally, as well as a 30-track digital deluxe edition. The digital versions will be released May 5, followed by the CD release on May 19. The unique, inventive and broad creative range Pemberton brings to his projects is omnipresent on the [m.40891]King Arthur: Legend of the Sword[] album. "This isn't your usual Hollywood epic adventure, it's a Guy Ritchie Hollywood epic adventure," explained Pemberton. "That means usual rules don't apply. In...

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Categorieën: Filmmuziek nieuws

NEWS: Milan Records to Release 'Genius' Soundtrack EP

Soundtrack News - Di, 25/04/2017 - 02:00
[m.47548]Genius[], the upcoming National Geographic series, executive produced by Ron Howard and Brian Grazer, features original music by composer [c.1465]Lorne Balfe[] ([m.43694]The Lego Batman Movie[], [m.38258]Terminator Genisys[]). The series features an original main title by [c.237]Hans Zimmer[]. Milan Records will be releasing a soundtrack EP digitally on April 28, 2017. "I'm incredibly honored to be writing music for many geniuses – Geoffrey Rush and Johnny Flynn as Albert Einstein, and for an amazing team led by executive producers Ron Howard and Brian Grazer, and showrunner Ken Biller," said Balfe. "Music was very important to Einstein. It was part of his thought process; he used music to distance himself from the problematic equations that he was trying to solve. The...

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Categorieën: Filmmuziek nieuws

NEWS: 'Guardians of the Galaxy Vol. 2' Awesome Mix Vol. 2 & Original Score Released

Soundtrack News - Za, 22/04/2017 - 02:00
Marvel Music/Hollywood Records are releasing the digital versions of [a.20506]Guardians of the Galaxy Vol. 2: Awesome Mix Vol. 2[] songs-only album and [a.20622]Guardians of the Galaxy Vol. 2 original score album[] by composer [c.648]Tyler Bates[] today, April 21st. The film opens in U.S. theaters on May 5, 2017. [m.41693]Guardians of the Galaxy Vol. 2[] is filled with great action, humor and performances, but it is also infused with a new mixed tape and soundtrack, a dynamic that resonated deeply with audiences in the first film as evidenced by the success of the soundtrack album. The Grammy-nominated [m.34687]Guardians of the Galaxy[] soundtrack reached No. 1 on the U.S. Billboard 200 chart, becoming the first soundtrack album consisting entirely of previously released songs to top...

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Categorieën: Filmmuziek nieuws

NEWS: Lakeshore Records to Release 'The Promise' Soundtrack

Soundtrack News - Wo, 19/04/2017 - 02:00
Lakeshore Records will release [a.20535]The Promise - Original Motion Picture Soundtrack[] digitally on April 21st and on CD June 2, 2017. The album features the film's original score by Academy Award-winning composer [c.234]Gabriel Yared[], with the original song "The Promise" written and performed by Multi-Grammy Award-winning and Golden Globe nominated singer/songwriter Chris Cornell, and an exclusive version of the Armenian folk song "Sari Siroun Yar" by Grammy Award-winning Serj Tankian performing with the Authentic Light Orchestra (feat. Veronika Stalder). It is 1914. As the Great War looms, the vast Ottoman Empire is crumbling. Constantinople (Istanbul), its once vibrant, multicultural capital is about to be consumed by chaos. Michael Boghosian (Oscar Isaac), arrives in the...

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Categorieën: Filmmuziek nieuws

NEWS: Steve Mazzaro Launches Website

Soundtrack News - Zo, 16/04/2017 - 02:00
[c.2901]Steve Mazzaro[] has launched his official website. The composer, who has been working at [c.237]Hans Zimmer[]'s Santa Monica based Remote Control Productions for the past six years, recently co-scored DreamWorks Animation's hit comedy [m.41760]The Boss Baby[] with Zimmer. His other credits include Walter Hill's 2013 action thriller [m.32659]Bullet to the Head[] and Marc Webb's [m.32686]The Amazing Spider-Man 2[], on which he was credited as part of "The Magnificent Six". He also contributed music to various other projects scored Zimmer, including [m.38616]Batman v Superman: Dawn of Justice[], [m.29989]Man of Steel[] and [m.39641]Chappie[]. [url.http://www.stevemazzaro.com]Click here[] to visit the website created by Dan Goldwasser's Warm Butter...

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Categorieën: Filmmuziek nieuws

NEWS: Weekly Roundup: April 14

Soundtrack News - Za, 15/04/2017 - 02:00
Announced this week were new composer assignments for [c.401]Rolfe Kent[] ([m.44892]Downsizing[]), [c.1450]Nitin Sawhney[] ([m.47650]Breathe[]), [c.855]Laura Karpman[] & [c.6577]Raphael Saadiq[] ([m.48112]Step Sisters[]), among many others. For the full list of composer and music supervisor assignments from this week, [url./composers/]click here[]. Over 25 new soundtrack albums were released this week. [da.2017-04-10]Click here for the full schedule[]. Opening in theaters nationwide this weekend is (with music by): [m.43702]The Fate of the Furious[] ([c.361]Brian Tyler[]). Expanding nationwide from its limited release last week is Marc Webb's [m.46837]Gifted[] ([c.1240]Rob Simonsen[]). Among all new theatrical releases, we are tracking song credits for: -...

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Categorieën: Filmmuziek nieuws

NEWS: BMI to Honor Alan Silvestri with Icon Award at 2017 BMI Film, TV & Visual Media Awards

Soundtrack News - Di, 11/04/2017 - 02:00
Broadcast Music, Inc. (BMI), the global leader in music rights management, will present the BMI Icon Award for outstanding career achievement to celebrated composer [c.201]Alan Silvestri[] at the company's 2017 Film, TV & Visual Media Awards. The annual ceremony will be held Wednesday, May 10, at the Beverly Wilshire Hotel in Beverly Hills. BMI President & CEO Mike O'Neill and BMI Vice President Film, TV & Visual Media Relations Doreen Ringer-Ross will host the ceremony. BMI will bestow the Icon Award to Silvestri for his impactful contribution in the realm of film and television music. "We are thrilled to honor Alan, a brilliant, deeply sensitive and diverse composer, whose glorious music is as inspiring as he is," said Ringer-Ross. "His keen cinematic sensibility, empathetic nature,...

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Categorieën: Filmmuziek nieuws

NEWS: Weekly Roundup: April 7

Soundtrack News - Za, 08/04/2017 - 02:00
Announced this week were new composer assignments for [c.274]Harry Gregson-Williams[] ([m.49049]Breath[]), [c.752]Alexandre Desplat[] ([m.49069]Based on a True Story[]), [c.1238]Bear McCreary[] ([m.49066]Half to Death[]), among many others. For the full list of composer and music supervisor assignments from this week, [url./composers/]click here[]. Over 25 new soundtrack albums were released this week. [da.2017-04-03]Click here for the full schedule[]. Opening in theaters nationwide this weekend are (with music by): [m.47665]The Case for Christ[] ([c.2357]Will Musser[]), [m.36451]Going in Style[] ([c.1240]Rob Simonsen[]) and [m.43473]Smurfs: The Lost Village[] ([c.630]Christopher Lennertz[]). Among all new theatrical releases, we are tracking song credits for: -...

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Categorieën: Filmmuziek nieuws

Interview with Bear McCreary

Film Music Magazine News - Wo, 05/04/2017 - 18:53

The guy problems of fawn-eyed rom-com star Anne Hathaway in the American big city and nowhere town. Asia’s pesky buildings that get in the way of a man in a big monster suit (or at least in the good old pre-CGI days). Never shall these two movie worlds, or protagonists meet – especially in the case of a composer whose lovers usually get split asunder by Cylons, Walkers or nasty British soldiers. But there’s got to be a first for everything for Hollywood, and Bear McCreary. In this case, it’s “Colossal,” wherein Hathaway’s woman on the edge of a nervous breakdown through a series of bad luck relationships goes back home to sort her wreck of a life out – only to discover that her angst is controlling a major, monstrous wrecking ball in the form of a creature terrorizing Korea’s capital of Seoul. Gradually breaking through her alcoholic, guy-fueled haze, Gloria takes control of her life by making the beast half a planet away do some unexpectedly silly things (or at least the kind of wincing stuff Godzilla did back in his drunken, dancing Elvis period).

However, when you at first listen to Bear McCreary’s glorious, city-stomping score, you might think he’s playing the continuing adventures of the can-do heroine who just blew up a space invader at the end of “Ten Cloverfield Lane.” Such is the rousing orchestral weight and emotional mystery of “Colossal,” which gradually tips its hand to the more intimate, ironically dramatic story at hand from the eccentric mind of director Nacho Vigalondo. But then, the idea of taking a small view at a gigantic genre twist is often a spin on Nacho’s offbeat Spanish films as “Timecrimes,” in which a time paradox unwinds in someone’s home, and “Extraterrestrial,” where an invasion is waited out in an apartment. McCreary’s score for “Colossal” makes you realize the scope is just a bit bigger, and intimate at that. Alt. score faves like acoustic and rock guitars blend with bombastic symphonic foot-smashing, an angst-ridden cello finds an accompaniment in blasting brass, and tender piano builds to cosmic revelation worthy of Gozer the Gozerean. It’s witty and emotionally stratospheric scoring that has it both ways, often playing the straight, musical creature to a wacky, well-realized idea in a way that only expands McCreary’s catalogue of genre music, while showing the different, dramatic paths he’s equally capable of.

     

Indeed, it’s likely that the collected works of this protégé of Elmer Bernstein would stack higher than Godzilla if you put together the likes of “Battlestar Galactica,” “Black Sails,” “Outlander,” “Agents of SHIELD,” “The Walking Dead” and all of the other hit shows to his credit. Yet it’s McCreary’s forays into movie theaters that provide some of his best work, from the wondrous “Europa Report” to the metalhead demon busters that comprise the “Knights of Badassdom” or the eerily haunted beauty of “The Forest” and “The Boy” (we can even throw in some dance moves of a “Step Up” picture in there). But given its own tonal connection to the riveting, exceptionally constructed bomb shelter break out of “Ten Cloverfield Lane,” “Colossal” comes across like the tip of an iceberg to just how many genres McCreary is capable of in a movie, and score that delightfully, and movingly has its way with two unlikely ones.

What’s your for the giant monster films of yore, and how do you think their scores played into that?

I have always loved a good giant monster movie, and have tremendous respect for the legacy of the genre. “King Kong” was certainly the first giant monster movie on a large scale, and featured one of the first recorded scores in the history of film. So, in a way, every film with music owes a debt of gratitude to giant monster movies!

What was it like working with Nacho, especially given how unique his genre films are?

Nacho quickly proved himself to be as distinct as his films. I was inspired by his film, and even more inspired by his creative leadership. His grasp of the story, the themes, and their interaction, was as detailed as any filmmaker I’ve ever collaborated with. He was fun, funny and clear in articulating his vision.

We’ve never quite seen a “Kaiju” movie like “Colossal.” How would you say it subverts the genre? And was that a big appeal for you to do the score?

It subverts the genre by being a different film entirely that happens to take place within that world. I think the film is character drama, wrapped up in a love letter to the “Kaiju” genre.

How much did you want to emulate the sound of “Kaiju” movies with “Colossal?”

It was not a concern of mine in the slightest, to be honest. I did not revisit any classic monster movies scores before scoring this film. I focused on the character arcs and the tension. There certainly are big moments in my score, but those were not the focus of my creative energies.

Given Korea is the setting of its monster rampage, how much of an Asian quality did want to bring to “Colossal?”

I think my score, with its folksy strumming electric guitars and solo cello melody, has a distinctly rural American sound. The large orchestra represents the giant monster and the stakes of the danger, but the iconic sounds of the score are intimate and indie-rock in nature.

How did you want to thematically contrast the characters of Gloria and the monster, then have the music gradually bring them together with their symbiosis – especially give how different the worlds are of the “indie comedy’ and “giant monster” scoring are?

Gloria has a theme that stands out pretty frequently in the film. Her solo cello melody is often supported by strumming electric guitars. Those elements definitely come from the “indie” film world. I used an orchestra to achieve a larger “blockbuster score” sound when appropriate. In fact, the opening Main Title cue is actually a bit of a musical joke: a tense ostinato in the low strings and mounting huge brass fanfare build tension that sounds like it will reveal an epic monster, and instead, we cut to Gloria sheepishly opening a door to her boyfriend’s apartment after having been out drinking all night. At the end of the film, I brought the two sounds together, putting the “indie cello” melody in the soaring full orchestra. It was an epic, fun moment.

Usually films follow on storyline. But what kind of challenge did it pose given “Colossal’s” intercutting between Gloria and the monster?

I chose to focus the music entirely on Gloria. We witness the fantastic events through her eyes, so I generally chose to score her reaction to the events, rather than the events themselves.

Two instruments in “Colossal” that are particularly featured with the orchestra are the guitar and cello. Could you tell us about the score’s ensemble?

The guitars and solo cello were my way of rooting the score in an “indie film” persona. I wanted the score to feel almost schizophrenic for the first hour of the film. Like, some edgy indie rock band scored half of it, and a classically trained orchestral composer scored the other half. Then, as the film progresses, the two musical styles merge to form a coherent vision.

Colossal doesn’t quite prepare for you for its most massive subtext about abusive relationships involving men. As a male composer, did that affect you emotionally, and make it all the more challenging to play the score from a female perspective?

The themes of abuse, both in substances and relationships, run deep in this story, and those themes inspired me to give the score a sense of emotional weight and importance. The film is about how relationships can become imbalanced, with dominance overtaking vulnerability. This is represented in the score with the acoustic solo cello struggling to hold its own against a relentless and overpowering synth pulse. I suppose in that regard, the feminine voice of the score is represented by an acoustic instrument, and the masculine voice is represented by a synthetic instrument.

In its way, minus its indie vibe, “Colossal” plays as a sequel score to “Ten Cloverfield Lane,” one of last year’s best films, and scores, especially in how the music “opened up” a movie that could have been claustrophobic. Could you talk about scoring it, and how you hope to remain part of the “Cloverfield” universe?

I wouldn’t have thought of it until you mentioned it, but there is a musical structure that’s similar to both films, I guess. Both films start off very contained, and build to a huge finale that’s bigger than what you’re anticipating based on the first hour of the film. That story structure obviously has an impact on the requirements of the scores for those films. As for the “Cloverfield” universe, I am always up for whatever JJ Abrams wants me to do.

There’s a fun, bombastic quality to your score. How important was it to give “Colossal” that extra, astounding push without overwhelming it?

This was a huge question, and the first thing I tackled in scoring the film. It was vitally important that the score deliver an epic, soaring finale, without overpowering or destroying the tone of the film. The last 12 minutes of the film, were the first thing I wrote (in fact, I scored the entire 12 minute last reel on spec as a demo to land the job!). Once the final reel was approved by the director and studio, it was an easier process to reverse engineer the rest of the score.

Conversely, how important was it for you to give an insane story like this emotional weight?

Giving a story emotional weight is truly the only thing I am ever concerned about when doing a film, regardless of genre. Without an emotional connection, plots ultimately lose my interest after about 30 minutes. It was the intensely satisfying emotional arc of this film that made me want to do it in the first place.

You’ve been upfront about how you use a team of composers given your insane workload something that’s been commonplace in the industry for years now, though not talked about as candidly as you do. How do you retain quality control, and are there projects where you are determined to be the sole composer on?

Working in modern television requires a composer team to keep up with the massive amount of minutes necessary every week. Because all my television scores feature live players, most with full orchestra every episode, my team at Sparks & Shadows also includes orchestrators, engineers, music editors, copyists, session producers, and employees dedicated to coordination, logistics, project management, sample development, and tech support. Everything is in-house. The operation is massive, but allows me the creative support to spend my every waking minute involved with the creative concerns of my projects.

How do you think “The Walking Dead” has changed in the way where it’s now featuring scenes that rely entirely on music? And given the epic war that’s coming in the next season, how do you see your music for the show growing?

I have been fortunate to be a part of “The Walking Dead” since day one. My score has evolved as rapidly as the show itself, now nearing the end of its seventh season. I am just completing my fourth season with showrunner Scott Gimple, who really appreciates the value and emotional impact of music, and envisions sequences where score will be featured prominently. I am eager to see what happens next season!

With all of the film and television work you’ve done, it’s almost a surprise that you’ll be scoring your first non-genre dramatic movie with the upcoming “Rebel in the Rye,” about J.D. Salinger. What was that experience like, and do you hope to get more “straight” assignments like this?

Working with Danny Strong, creator of “Empire” and an accomplished actor / writer, on his directorial debut was a remarkable experience. It felt like a feat to land a film without time travel, robots, aliens, zombies, pirates, or demons. Scoring “Rebel in the Rye” was one of the best experiences of my life, yielded one of the best scores of my career, and I hope very much to do more films like it in the future.

You’ve also scored your first feature documentary “Unrest,” about a Harvard PHD who’s suffering from chronic fatigue syndrome. Could you tell us about your approach for it, and the big difference you’ve discovered between writing for features and non-fiction here?

I learned a lot working with Jennifer Brea on “Unrest.” Her film is a chronicle of her personal journey suffering with CFS (Chronic Fatigue Syndrome), telling both her intimate story and that of people like her around the world. For Jennifer, this film is literally her life. So, approaching it as I would a fiction film proved to be pointless. I rewired my thinking so that I was scoring her life, and thought of the film as a byproduct. The music had to be as intensely personal and intimate as her filmmaking. I am really proud of the film, and excited that people will get to see it on PBS in the near future.

Another forthcoming project is the Blumhouse production of “Half to Death,” a “Groundhog Day”-like movie about a heroine learning how to get to the bottom of her multiple deaths. What’s the trick of scoring a film with repeated scenes, and how do you want to repeat, and the change the music for it?

Oh my, word gets around fast. I’m just getting started on this one. It’s too early to say, but I am looking forward to tinkering with this. I am attracted to the idea of using similar music for repeated sequences, but ultimately, my motto is always “Follow the Character.” It’s more important for me to adapt with the character’s POV. I have some ideas crazy ideas that I’m looking forward to pitching the director soon.

With “Colossal,” how do you think you’ve contributed to movies about giant monsters, as well as millennial relationship problems? And when you think about it, are they the same thing?

I’d love to think that my score checks both of those boxes. That was certainly my goal. We’ll have to see how people respond when the movie comes out.

Colossal is another atypical genre film, and score for you. Do you find these films more interesting than a far bigger, cookie-cutter opportunity that might come your way?

I always enjoy working on projects that challenge me, and make me a better composer for having done them. I like to think that even a “cookie cutter” gig might present cool musical opportunities. But, for now, I just keep my eye out for interesting projects that push me out of my comfort zone.

“Colossal” rampages in theaters April 7th, with Bear McCreary’s score available on Lakeshore Records. Pick up your copy HERE

Visit Bear McCreary’s website HERE

Categorieën: Filmmuziek nieuws

NEWS: Varese Sarabande to Release 'Bosch' Soundtrack

Soundtrack News - Wo, 05/04/2017 - 02:00
Varèse Sarabande will release the [a.20328]Bosch – Amazon Original Soundtrack[] digitally on April 21 and on CD April 28, 2017. The album features the series theme song "Can't Let Go" performed by Caught A Ghost and the original music from Seasons 1, 2, and 3 composed by [c.10021]Jesse Voccia[] ([m.33195]The Big C[], [m.37599]A Haunted House 2[]). "The first thing I actually scored was the first scene of the first show," said Voccia. "It is a relatively long foot pursuit through downtown LA. It has almost a "French Connection" feeling to it with several changes of atmosphere, location and intensity. It is the first time we meet Harry Bosch and his partner Jerry Edgar." Based on Michael Connelly's best-selling novels, [m.40195]Bosch[] stars Titus Welliver as LAPD homicide detective...

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Categorieën: Filmmuziek nieuws

Interview with Rob Simonsen

Film Music Magazine News - Di, 04/04/2017 - 02:14

Hollywood is a town of the young when it comes to the composers who get all of the cool gigs (perhaps excepting that 85 year-old duffer John Williams). On that note, there are few creatively hotter, hipster commodities than Rob Simonsen at finding unique, vibrant groove that speaks for a new sound of film scoring. Simonsen began his career as an assistant, arranger and then addition composer to Mychael Danna on such brilliantly non-conformist scores as “Where the Truth Lies,” “The Imaginarium of Doctor Parnassus” and the Oscar-wining “Life of Pi,” Making his solo feature debut with the knightly drama “Westender” (in which he played a role as well), Simonson has since amassed dozens of credits, with a particular emphasis on quirky, character-driven films. Tapping into an alt. rock sound so preferred by Gen X’ers and millennial audiences yet with a strong, old school sense of orchestral melody, Simonsen has chronicled their romantic angst for “(500) Days of Summer,” “The Way Way Back” and “The Spectacular Now,” as well as a rhythmic addiction to the net with “Nerve.” He’s heard the creepily symphonic sound of true crime with “All Good Things” and “Foxcatcher,” as well as using impossibly lush strings and electronics to mesmerizingly embody eternity in “The Age of Adeline,” or even hell’s kitchen with a cool, cutting-edge sample sound for “Burnt.”

With all of Simonsen’s credits, it’s ironic that one of his most clever, and thoroughly fun scores is a throwback jazz heist soundtrack with a hip, mature feel for “Going In Style.” It’s a hundred-and-eighty (plus thousands of more dollars) turn for both Simonsen and actor-director Zach Braff after their collaboration on “Wish You Were Here.” Gentle whimsy gives way to a rollicking, fat brass section, whistles, and a suspenseful orchestra that might befit the golden days of Steve McQueen barreling down the streets of San Francisco. But in this case, it’s the dream team of Michael Caine, Morgan Freeman and Alan Arkin as three seniors who are mad as hell as their corporate mistreatment, and decide to take on a bank for the retirement robbed from them. Far more optimistic than the sad, gritty 1979 original, this “Style” is feel-good multiplex entertainment that gets the goods with well-weathered chemistry and symphonically jazzy flourish to spare, especially in Simonsen’s fresh retro grooves.

If these thieves might do their best not to get a rap sheet, Simonsen himself is getting labeled for comedy for good reason. At year’s end, he’ll be going on the lam with Owen Wilson and Ed Helms for “Bastards.” As their two man-children try to find their father in a series of screwball incidents and verbal squabbles, Simonsen provides an instrumentally eccentric take on a free spirit vs. stuck-up sibling. It’s a winning score that takes Simonsen on a road trip that’s familiar for its stripped down sound, but like “Going in Style,” offers the composer the chance to go for new, broader musical punch lines.

Certainly nothing if not prolific with the often musical chairs release dates of the many movies he’s scored, Simonsen also has the distinction of having another film scored by him on “Going in Style’s” April 7th opening date. And it couldn’t be for a more different movie, if beautifully familiar Simonsen score, than “Gifted.” Returning him to the company of “(500) Days of Summer” director Marc Webb, if in way more grown up surroundings, “Gifted” finds a math-magician little girl whose gifts are closely guarded by her single dad, who’d rather have her find a winning formula in life than becoming a guinea pig savant. At first depicting their relationship with ethereal magic, Simonsen introduces a more serious, symphonic sound for grown ups trying to tear them apart, yet with a subtlety that distinguishes the composer’s dramatically melodic instincts in a rich grab bag of distinctively vibrant, and stylistic scores.

How did you first connect with Zach Braff, and why do you think you were in tune as a composer and director?

Zach discovered me through an Apple commercial that I scored. He said he was watching TV and the “Photos Everyday” ad came on, which has no voice over or dialogue – just music accompanying all these beautiful shots of people taking photos on their iPhones. He loved the music on the ad and thought it was perfect for his film “Wish I Was Here,” so he did a Google search to find out who did the music and then found me. It was only after the fact that he found out I had done a fair bit of work with his editor and producers, so it all came together happily.

Not only is “Going in Style” Zach’s first “mainstream” film as it were, but it’s also a whole new, broader orchestral comedy sound for you, one very different from the kind of alt scores you often do. What were your mutual challenges like?

Zach has never made a film that was scored to this degree, so there was a lot of discovering about how to make the film work with score, which was achieved through a wonderful team Zach had with his editor, Myron Kerstein, music editor Andrew Silver, his producer Donald DeLine and music executive Erin Scully. Everyone wanted the same thing, but it took us time to figure out how to get there. Zach was very trusting of me and the process and we faced all the challenges together.

On my side, the initial challenge faced by all composers, is how to do something that hasn’t already been done – and done so well by the greats. In the journey of a working film composer, there isn’t always the opportunity to invent something new, so then it’s a question of how much fun to have with the genre and established approaches.

For me, this was a great opportunity to have a bigger, broader sound that harkened back to the 80’s and so many films I saw growing up. The fun, orchestral approach to “Back to the Future” was something we discussed in terms of how that score plays to the film. So really, it was trying to find unique musical material with melodies, motifs, etc, and then having fun.

This is definitely not your grandfather’s “Going In Style,” which was a very good, but downbeat movie. How important was it for you to establish a tone that was dramatic, but also played the lighthearted nature of the film?

Our rule was to never take away permission to laugh. Even though our heroes face real consequences, we were careful to never go dark. Zach’s films tend lean in with emotion so we also knew upfront that we needed warm fuzzy melodies.

When so many fun, jazzy “heist” scores have been done, what’s the challenge of finding something new for the genre?

As I was saying before, I think it’s about having fun with an existing genre. Not all films can handle experimentation, and they need to feel connected to their predecessors. So for me this was a chance to get into scores and records that I’ve loved for a long time, a love letter to Lalo Schifrin, Roy Budd, CTI Records…it’s musically referencing 60’s and 70’s but the approach and production is more of an 80’s, almost Amblin kind of thing.

How important was it to bring a youthful vibe to the score, while at the same time playing the particular challenges that reflect these characters’ ages, as well as their distinct personalities?

Zach wanted the youthfulness of the granddaughter character to come through in her scenes, so we needed something with energy there. And with our three main characters, despite their physical age, were playful and fun with each other. We never wanted to make their situation seem sad, we always wanted to lean into the fun and excitement.

A retro element would definitely come with aging characters like this who were in the primes of their youths in the 60s and 70s (as well as the 40s in one cue). How did that determine what kind of vibe did you want to explore for them, and how to incorporate that into a big orchestral sound?

I was definitely inspired to go retro, but not too much. Recording/mixing engineer Alan Meyerson was a brilliant partner in finding ways to give nods to the music we were referencing, while still staying modern.

What are your own favorite “heist” movies and scores, and why? How did you want the score to “track” the big, climactic robbery?

“Bullit” by Lalo Schifrin is one of my favorite scores of the genre (and films). John Barry’s stuff with the Bond franchise. Anything Roy Budd was doing in the 60’s-70’s like “Get Carter.” Quincy Jones, Deodato, Morricone. Even Sam Spence’s NFL Films stuff. I love the sound of electric bass and drum kit with orchestra.

There’s also a fun, subtle tropical flavor to “Going in Style,” as well as whistling and swinging flutes. How did those ideas come into play?

The whistling was actually an idea that Zach had, I think. It seemed like a fun idea so we went with it. There’s some body and mouth percussion in some spots as well. There’s a carefree playfulness to that stuff so it seemed like something to try and work in. The tropical vibe wasn’t intended, but maybe that’s just inherent with bongos and congas, of which there are a lot. We did a lot of Latin percussion, headed up by Pete Korpela, who is a fantastic player and brought a lot of groove to the whole score.

As fun as “Going in Style” is, does scoring a film like this make you reflect on your own mortality, and challenges that you’ll be face a few decades down the pike, especially in a composing industry known for its ageism. And if so, did that emotion play into the score’s more heartfelt moments?

You mean, was my own sadness about aging channeled into the score? Yes. Yes, it was.

“Bastards” is more in tune with other eccentric comedy scores you’ve done like “Girl Most Likely” and “The Way Way Back,” especially with its unplugged acoustical sound. How did you hit on this approach here, which also uses a more subdued orchestra?

“Bastards” needed something plucky and I wanted to find a way to get pluck without using plucked strings. I ended up using them a bit, but they’re 1:1 blended with palm-muted acoustic guitar plucks most of the time, so it makes it a little bit of a smaller, more intimate and hopefully unique sound. It still sounds like plucks I think, Ha! But the story for “Bastards” is really about a couple of brothers who are still trapped in their childhood selves in a lot of ways, and they reconcile by going on an adventure to find their father. So there needs to be a spirit of adventure driven by emotion, but big orchestra just felt too big and adult for that. It was the softer, quieter tones of acoustic guitar and upright piano seemed to match their characters.

It seems like just about any eccentric instrument is possible in “Bastards.” How did you pick which ones to use, whether it’s a dulcimer, a ukulele or a fuzz guitar?

Fumbling around until it felt right, pretty much. We used cimbalom, which is a fantastic instrument that I first heard my friend Chester Englander play with the LA Phil. It’s got a unique sound that can blend so interestingly with other things that we’re really used to hearing. It’s a fairly intuitive thing I think, just wanting something different and hunting for the right sound. I spend a fair bit of time at the outset just thinking about and experimenting with the palette.

How do you want to hit the difference between one brother who’s hopelessly wound up, and the other who’s a free spirit?

One is loose and goes with the flow, so we have something that’s laid back and relaxed, whereas the other one is uptight and needed something angular that is a little tense and also melancholic.

Like “Going in Style,” “Bastards” is a “caper” film of sorts, in that the mission is to do whatever it takes to discover who their real dad is. Tell us about capturing that kind of alt. jazzy sneaking about, as well as the idea of a multiplicity of potential, woefully flawed dads?

I think in the end I’m just tried to do what sounded sneaky to me. We knew there needed to be sneak in the score, but I think the discovery of the score was a theme that had a bit of hope and adventure. I imagined two young boys playing in the forest, setting out on a quest to find their lost father, the king. Waving a flag as they march into the unknown. There’s something sweet and earnest about that, and inevitably they get into shenanigans.

Is it particularly fun to play a road trip where bantering dialogue is as big a part of the physical comedy?

It’s quite different. Again, this was a bit of a broader film and score than I’m used to. But it was fun to play that up.

Despite its shenanigans, there’s an emotional core to “Bastards” about dealing with parental rejection, and wanting to be loved. How did you want to hit that without being overly sentimental?

Exactly as you said – to hit it without being overly sentimental. I was just trying to serve the scenes, which director Larry Sher did a wonderful job with. There’s some real emotion in that film. I get misty eyed every time I see it.

How was it for you to reteam with director Marc Webb on “Gifted,” this time as the sole composer?

It was great. I love Marc and he’s someone I’ve had a friendship with since we all did “(500) Days of Summer.” He’s a wonderful filmmaker.

Do you think there are instruments that naturally convey the innocence of children? And how did you want to play them here, especially given that this girl is super smart?

Anything small and bell-like seems to ring true for the sound of children. The main theme for the girl in “Gifted” is very simple. Elemental. She’s a normal kid in many ways, but a genius in others so we needed a more adult, complex sound from the orchestra that could keep up with that.

How did you want to play her bond with a dad of normal intelligence?

I would say he’s above average intelligence. But the life he is trying to give her is one of normalcy. He wants her to have a chance at developing without the pressure from the world to juice a mind like that. There are some interesting questions about the morality, ethics and responsibility of genius there.

There have been many kid’s “courtroom” movies that have gone wrong, especially given scores that tended to be treacly. Was that a concern here, especially as the score grows increasingly solemn with its dramatic stakes?

Yes, we never wanted to be too cute. McKenna Grace, the young actor that plays the lead is extraordinarily funny, smart, and entertaining and we didn’t want it to turn into cuteness.

You’re part of an “Echo Society” that stages new works from composers in Downtown Los Angeles. Tell us about the group, and what kind of creative outlet it gives you?

The Echo Society is a group of like-minded friends who gather to create new works of art, and share that with the greater LA arts community. This city is so rich with artists of all disciplines. We wanted to connect with other artists that we may not have a chance to work with in our “day jobs” of film composers, etc. For us it’s really important to make art for art’s sake – to see what’s possible and to cast a vision for something that moves us. We try to execute that with as much passion and commitment as we can in a way that will hopefully move others. It’s been wonderfully rewarding as a composer. I’m just as excited to be there to experience it as an audience member as I am to share it as a co-creator.

You’ve got quite an interesting film coming called “House of Tomorrow,” which mashes architectural legend Buckminster Fuller with the story of two punk teens trying to get laid. What can we expect from that score?

The score is all analog synths and glass flutes. The idea was to capture the sound of the future from the past. So there’s a ‘science documentary’ from the 60’s kind of vibe. It was wicked fun.

When you hear “Going in Style,” “Bastards” and “Gifted,” what do you think they say about your range as a composer? And where do you want to go in terms of exploring uncharged musical areas?

What it says about my range is a statement for probably for someone else to make, as I’m always just doing my best with any assignment. For me, a film score is always a chance to do something new. Maybe it’s just new for me, but that’s worthwhile. I’m always looking for ways to grow and develop as a composer and human being, and doing things I haven’t done before is always an opportunity for that. I’m also finishing up my first solo record and that will hopefully open me up more to making more music for music’s sake.

“Going in Style” and “Gifted” open in theaters April 7th, with “Style’s” soundtrack on WaterTower Music HERE and “Gifted” on Lakeshore Records HERE

Join the “Bastards” on their road trip at year’s end in theaters

Find out about the Echo Society’s latest LA performances HERE

Visit Rob Simonsen’s website HERE

Categorieën: Filmmuziek nieuws

NEWS: Lakeshore Records to Release Bear McCreary's 'Colossal' Soundtrack

Soundtrack News - Di, 04/04/2017 - 02:00
Lakeshore Records, in conjunction with Mondo, will release the [a.20504]Colossal - Original Motion Picture Soundtrack[] digitally on April 7th and on CD May 12, 2017. The album features the original music by [c.1238]Bear McCreary[] ([m.44831]10 Cloverfield Lane[], [m.31957]Outlander[]). Available for pre-orders on mondotees.com beginning April 5th, and in-stores on May 26th, Mondo will release a limited edition 180-gram vinyl version of the soundtrack, featuring original artwork by We Buy Your Kids. [m.47042]Colossal[] is about Gloria (Anne Hathaway) is an out-of-work party girl who finds herself in relationship trouble with her sensible boyfriend, Tim (Dan Stevens), and is forced to move back to her tiny hometown to get her life back on track. She reconnects with childhood friend...

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Categorieën: Filmmuziek nieuws

ALBUM REVIEW: Moana

Soundtrack News - Zo, 02/04/2017 - 02:00
"Make way" for the soundtrack of [a.]Moana![] In this wonderfully constructed animated film, Disney once again demonstrates its great ability of storytelling, making [m.42413]Moana[] its 56th Disney animated feature film. Under the direction of Ron Clements and John Musker, the film follows Moana (Auli'i Cravalho), the hardheaded daughter of the chief of their Polynesian tribe, as she is chosen by the ocean to restore the heart of Te Fiti. Along her journey she must first find the legendary, shape shifting demigod, Maui (Dwayne Johnson) and his magical fishhook. The soundtrack for [m.42413]Moana[] captures the essence of Polynesian culture...

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Categorieën: Filmmuziek nieuws

NEWS: 'Going in Style' Soundtrack Released

Soundtrack News - Za, 01/04/2017 - 02:00
WaterTower Music today announced the March 31 release date of the soundtrack to [m.36451]Going In Style[], the new comedy that teams up Oscar winners Morgan Freeman, Michael Caine and Alan Arkin, and is in theaters nationwide April 7. The soundtrack was produced by [m.36451]Going in Style[] director Zach Braff, who explained his philosophy about the music. "What I wanted to do with this soundtrack was have a mix of music that the characters might listen to; and I also wanted a mix of the sounds of the city, since it takes place in Brooklyn, Queens and Manhattan." The soundtrack features the film's stars Alan Arkin and Ann-Margret singing on their newly recorded duet, "Hallelujah I Love Her So," and Jamie Cullum's new rendition of "Hey, Look Me Over," along with a fun and eclectic mix...

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Categorieën: Filmmuziek nieuws

NEWS: Weekly Roundup: March 31

Soundtrack News - Za, 01/04/2017 - 02:00
Announced this week were new composer assignments for [c.1465]Lorne Balfe[] ([m.41113]Geostorm[]), [c.1132]Gustavo Santaolalla[] ([m.48997]The Tribes of Palos Verdes[]), [c.237]Hans Zimmer[], [c.7223]Jacob Shea[] & [c.8992]Jasha Klebe[] ([m.48996]Blue Planet II[]), among many others. For the full list of composer and music supervisor assignments from this week, [url./composers/]click here[]. Over 30 new soundtrack albums were released this week. [da.2017-03-27]Click here for the full schedule[]. Opening in theaters nationwide this weekend are (with music by): [m.41760]The Boss Baby[] ([c.237]Hans Zimmer[] & [c.2901]Steve Mazzaro[]) and [m.42977]Ghost in the Shell[] ([c.658]Clint Mansell[] & [c.1465]Lorne Balfe[]). Among all new theatrical releases, we are tracking...

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Categorieën: Filmmuziek nieuws
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