Filmmuziek nieuws

NEWS: Sony Music to Release 'Little Women' Soundtrack

Soundtrack News - Di, 19/11/2019 - 01:00
Sony Music announces the release of [a.27132]Little Women (Original Motion Picture Soundtrack)[] with music by Academy Award, Golden Globe and Grammy Award-winning composer [c.752]Alexandre Desplat[]. Available for preorder now, the album will be available in digital, CD and vinyl formats beginning Friday, December 13. Recorded in New York City under the leadership of Desplat, who conducted a chamber orchestra to perform his original compositions, the score serves as a sonic companion to the film's coming-of-age narrative Directed by Greta Gerwig, Sony Pictures' [m.53146]Little Women[] will make its highly-anticipated theatrical debut on Wednesday, December 25. Of the soundtrack, composer [c.752]Alexandre Desplat[] says, "To...

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Categorieën: Filmmuziek nieuws

NEWS: Lakeshore Records Announces 'The Report' Soundtrack

Soundtrack News - Za, 16/11/2019 - 01:00
Lakeshore Records announces the release of [a.27082]The Report--Original Motion Picture Soundtrack[] which is now available digitally. Composed by Emmy-nominated [c.1750]David Wingo[], the score is redolent with atmospheric electronics providing a subtly intense backdrop to the thriller. The Amazon Original, directed by Scott Z. Burns and starring Adam Driver, Annette Bening and Jon Hamm, is in select theaters today, November 15 and streaming on Amazon Prime Video November 29. [m.54421]The Report[] is a riveting thriller based on actual events. Idealistic staffer Daniel J. Jones (Adam Driver) is tasked by his boss Senator Dianne Feinstein (Annette Bening) to lead an investigation of the CIA's Detention and Interrogation Program,...

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Categorieën: Filmmuziek nieuws

Interview with Marco Beltrami and Buck Sanders

Film Music Magazine News - Vr, 15/11/2019 - 21:37

When there are so many composers in heated rhythmic competition with funk, jazz and rock that speeds listeners back to the 1960’s glory days of anti-establishment heroes, leave it to the enduring team of Marco Beltrami and Buck Sanders to jockey their retro vehicle into pole position with “Ford v Ferrari.” As an exceptionally well-oiled musical team that’s been running for decades since their scoring career inceptions (during which they’ve received a co-Oscar nomination for 2008’s “Hurt Locker”),” this tale of a seemingly mis-matched collaboration between two high-octane individualists revs up a whole new, vibrantly old school song sound for the duo – not to mention their director James Mangold.

Given their previous, Oriental-styled super heroics for the director’s “Wolverine,” a fateful Spaghetti western return to the character in “Logan,” and a full-on period shoot ‘em up with the Oscar-nominated soundtrack for “3:10 to Yuma” “Ferrari” is a wonderfully unexpected flashback – a 60’s style mix of spot-on funk, hep jazz, surf rock and brass wrecking crew attitude that exceptionally delineates the period in which American race car specialist Carroll Shelby (Matt Damon) and English hotshot rider Ken Miles (Christian Bale) team together. Their seemingly impossible mission is to pull off the impossible at France’s Le Mans racetrack by taking a seemingly bland, if nonetheless iconic Detroit brand and creating a super speed metal monster that will take on the far snootier, and better made Italian carmaker with no end of medals under his checkered flag. It’s a race against time with no end of macho swagger that Beltrami and Sanders can truly swing with, while also getting in a western-style sense of sports mythmaking.

With race car-embodying music that crashes through roaring engines with a bigger than life sense of acceleratingly thematic fun, Beltrami and Sanders are once again in perfect synch to pull off the unexpected, as “Ford v Ferrari” continues to show a partnership in synch like few others in Hollywood’s racetrack.

Buck, how did you become aware of Marco?

Sanders: I became aware of Marco through a Fred Dryer TV show he scored called “Lands End” around 1996 or so. The show was a lot of fun and seemed to be trying to do something different with every episode. Marco’s score reflected that same sense of exploration within the shows.

What are your respective strengths that complement your work together?

Beltrami: I come from a much more traditional pencil and paper background. Technology is not my forte, whereas Buck is much more comfortable with the technology side of the business. So, we sort of work hand in hand, because at this point there’s no way to separate. You can’t do a strictly pencil on paper scoring anymore. And just being caught up in the technology can somewhat limit the scope of what you do as well. I try to think in terms of the big picture and unlocking the key to the film and to me that has nothing to do with technology. It’s all just part of the creative process.

Sanders: In general, my main contribution over the years has been creating electro-acoustic manipulations and designing the sound pallet for the scores. My goal from early on has been to make a new pallet for each film to help give each film an identity. That naturally progressed into composing as well as becoming very involved with the recording and mixing process. Each part of those processes is equally important for producing a score for most of the films we do. Marco’s strength lies with orchestral writing and over the years he’s moved from larger, more gestural orchestral writing that focused on strongly accenting picture edits (such as the “Scream” movies or “Blade 2”) to being particularly interested in thematic development over a scene. That said, even though he doesn’t have a personal interest in computers or electronics he does enjoy discussing the early concepts and obviously has a knack for using the sounds that are made for the scores. Often times what one of us is doing really inspires the other. Marco’s thematic ideas, harmonic movement etc can inspire the sounds I make and vice versa.

Buck, many co-composers can spend their careers laboring in anonymity. In that respect, how important was it for you to begin getting front-end co-scoring credits?

Sanders: When we’re working on a film I’m pretty much as happy as can be creatively and Marco has always encouraged whatever ideas I may come up with to help develop a score’s palette or if I’m inspired to write cues. Marco was the one who very generously instigated sharing credit initially. Since then occasionally a film comes up that Marco and I both have strong ideas for and generally it develops into a co-score credit. I’m not much of a limelight seeker and really enjoy the work if it’s a co-score or if I’m helping our team of composers help us finish a massive project or a time crunched gig. I started out musically playing in bands and have always enjoyed collaborative relationships.

What did getting an Oscar nomination for “Hurt Locker” tell you about your partnership?

Buck and Marco back in The Hurt Locker

Sanders: It was one of the first co-scoring credits we had together and I really appreciated Marco requesting that with the filmmakers. I’m also very appreciative to those directors who recognized the collaboration between Marco and myself.

Were either of your attracted to cars, or racing, before taking this film on?

Sanders: Marco is into racing. I’m into using a car to pick up cool gear for the studio. His racecar is so loud that I can’t hear the Goldsmith CD playing in my car!

Beltrami: I dabble in amateur motorcycle racing and I’ve been to the track with the car as well numerous times and follow moto GP and Formula One racing when I can. Also, I train at Willow Springs Raceway with my son Coleman, where part of the film was shot.

How would you say your relationship has evolved with James Mangold to the point of “Ford v Ferrari?” And how would you say his skill as a director has developed to take on such a hugely ambitious project like this?

James Mangold directs Ford v Ferrari

Beltrami: This is the fourth movie that we’ve done together and over the course of our relationship. For a director working with a composer, it’s almost like you have to develop a language, because the language of music is abstract and that takes time. And I find that each time I work with Jim it gets easier and easier. I understand more instinctively what he’s talking about and vice versa. I feel like he understands our ideas as well. I think he is one of the most talented directors I’ve ever worked for. And this movie I think is a masterpiece. I think it’s the best movie I’ve ever worked on. And I feel that what Jim does so well, is that he takes a big story, but makes it very personal at the same time and focuses on the relationships. So, even though it’s about a simple concept of Ford beating Ferrari at Le Mans, it really functions on a relationship level, which makes you really care about it, even if you’re not a race fan.

Sanders: One of my favorite things about Jim is that he is a real fan of vintage film scores. He’s consistently referencing composers like Jerry Fielding, David Shire and Lalo Schifrin and the sound and energy of those scores. I remember the day before we were recording “The Wolverine” score he had us come by his office so he could play us some music to inspire the sessions and it was Elmer Bernstein’s “The Sweet Smell of Success.” That was not what I was expecting to hear. He didn’t want that style of music obviously but loves the sound of the band and how raw and energetic it is. I think we got closer to some of that unbridled energy from classic scores with “Logan,” and with “Ford v Ferrari,” I think we have gotten even closer. We purposely decided to produce the sound of this score with the band in the room at Capitol instead of having heaps of production done beforehand which can end up dictating the energy and dynamics of a band’s performance. All the production we added to the ending Le Mans race cues was all edited to the band to keep their energy as the main focus throughout the whole score.

Why choose this particular style of music? And would you say it made your collaboration with James differ here? Or is there now shorthand in the process after so many years together?

Beltrami: Jim and the music editor Ted Caplan turned us on to the sound of the film early on by playing us records that he liked. Jim didn’t want a smooth Hollywood score. He wanted to embrace this idea of when they used to make records and you have a band play in the room and not be so constrained by strict meters and everything being perfect, smooth. He wanted us to embrace the rough edges of it. And in this score, I feel like we were able to do that in a way we haven’t previously been able to. We didn’t use traditional orchestra and we really cared about the performance, not so much technique in the studio, but the actual performance on the scoring stage.

Sanders: We all wanted to reference music from the times of the films settings and use instrumentation and production techniques to help sit with the source music that’s also in the film. It was important that the band members be able to comfortably shift between the jazz and rock inspired cues and the more modern sounding stuff we did for the Le Mans race. We were really responding to Jim’s tastes in music from that time. There is certainly developing shorthand with Jim but more importantly we are developing good communication with his whole team that he has been working with for years now. We have full trust in the music editing/supervision by Ted Caplan and dub mixer Paul Massey who handles the music mix on the final dub stage. They can usually easily handle most of any changes Jim may want during the final mix.

“Ford v Ferrari” is certainly your funkiest score together. What kind of albums or songs from the era did you dig into for research?

Sanders: We got to pay some homages to stuff that I’ve always enjoyed like Lalo Schifrin and Henry Mancini and I did a lot of research on guitar fuzz pedals from the 60s. I’ve been collecting fuzz pedals for years to be able to one day do a fuzz guitar and brass score and this film was the perfect film to explore that idea. We worked closely with the Mark Graham, the score’s orchestrator and conductor, regarding the brass mutes and which ones may be good combinations with the different fuzz pedals.

Tell us about the ensemble you used?

Beltrami: We had a unique ensemble of 15 instruments, sort of like a big band. We had three guitars that would play everything from acoustic guitar to electric to pedal steel. And we had a piano that also played B3 Organ. And we had a drum kit and percussion that played also a vibraphone. And we had an electric bass player that also played jazz, upright bass, and we had two trumpets and three trombones and a saxophone that doubled on flute. And we did the entire score with this ensemble. There are no strings, no synthesizers, there’s no electronic outside electronics coming from the studio. Everything we wanted this score to be so that you could basically play it as if you were just going into the studio and playing it. And that’s the score. That was the concept. And the thing that was great about it was that we didn’t have all the sessions at the end.


We started scoring, I think it was in January, and we had, over the course of five months, five sessions and we kept coming back to the same band. So, we got to know the players. We knew whom we were writing for, we knew what their strengths were. We knew what Jim liked because we played cues for him and then he would listen and he would give us notes on what he liked, and sometimes we would come back and revisit those cues. Sometimes we would take ideas from one cue and adapt it to something else. It was a real collaborative process, something that we don’t often get to do on a film score, but we had the luxury of multiple sessions with the same band and having Jim attend all the sessions and try stuff in the picture. So, I feel like we were really able to connect and collaborate as director and composers and really develop our relationship.

In a way, was scoring “Ford v Ferrari” like being in a garage together working on a car?

Beltrami: Buck and I really worked on everything together. I would come up with perhaps a melodic idea for something and Buck would have a way of translating that to how we were going to achieve that with guitar, fuzz and muted brass, things like that. And he’s had this concept for a long time. And we finally got to use it. Or there’s a rhythmical idea that starts at the beginning of the race, I think Buck came up with that on his guitar and then I ran with that and developed it into a cue that we would sit down and work on together. Like we’d be in the same room together, he’d be playing some things on the guitar. I’d be recording him while he did that. I would be playing some things on the piano or the organ and he’d be recording me doing that. We actually write these cues together.

How does the final album differentiate in some parts as to what’s heard in the film?


Sanders: The soundtrack’s first track (“Le Mans 66”) is an edited suite of the Daytona cue, the “7000RPM/Perfect Lap” cue and the cue where Miles starts to catch up with the Ferrari driver Bandini and then back to the Daytona finale. There are also a couple of alternate versions of cues that are slightly more developed thematically (“Ferrari Factory” and “Crescent Wrench”).

How did you want to musically differentiate the personalities of Ken and Carroll?

Beltrami: I had something thematic for their relationship and I had something thematic for Miles’s headspace, when he had his 7,000 RPM idea, and then when he reaches the perfect lap. We had thematic ideas that were solidly based for the race as well that were more mechanical of nature.

Sanders: I don’t think we saw them so much as individuals to focus on. The film is really about the friendship between them and Miles relationship with his family.

Given that retro rock-pop scores are now the rage, did you want to bring in the “western” sound to make yours different?

Sanders: I wasn’t aware that they are so popular right now. It just felt right for the film, especially considering the period of it. We’re always throwing in Morricone inspired “western” sounds. It’s hard for us not to do that, especially on a Mangold film. I think you could easily transcribe a lot of his films into westerns.

Would you say there are elements of “3:10 to Yuma” and “Logan” in this score?

Beltrami: I’ll say that there’s also a cue that’s used a few times. It’s used in the very opening of the movie when Shelby’s on fire, it’s used when Shelby is giving a speech for the unveiling of the Mustang and it’s used when Miles has to slow down. There’s this cue that goes by, it’s fairly ambient, but there is a piano line, right? Very sparse, simple, right-hand piano line that I realized after we did is similar to a piano thing that I did in “Logan.” So I guess, unconsciously, there was a connection.

Sanders: From “Yuma,” certainly with the gritty acoustic guitars and the trumpet/fuzz guitar theme that movie had as well like. I didn’t really think of “Logan” in conjunction with “Ford,” but perhaps some of the darker racing moments in Le Mans have some similar vibes. The dark piano clusters and the drum kit could have worked in “Logan.”

How difficult is it to musically capture the sensation of speed?

Sanders: The fast tempo of the cues certainly helps. Letting the players play beyond their parts and improvise parts helps create urgency as well. Mangold seemed particularly interested in wanting the feeling of precision for the GTs once they show up which is why we had the extra percussive guitars and tight percussion that were edited to follow the band’s performance for the GT racing scenes.

Was it also important to get across a mythic quality in the score as to the sense of racing, and automotive history being made?

Beltrami: This idea of the nature of your relationship to the car changes at 7,000 RPMs where at a certain point when you’re driving has almost a mythical feel to it. And that I felt needed musical support. And Jim shot it in a way that he needed score at that point. There’s a moment at the end when right before he, Miles, slows down. And then also in the very beginning, when Shelby leaves the doctor’s office and he’s driving down Mulholland Drive in his car, we wanted to connect this feeling from the beginning of the movie and right up to the end when actually even when Ken Miles loses his brakes at the very end and crashes.

Sanders: I think Marco did a great job of capturing a mythical quality with his 7000RPM cue (during “Miles’ Perfect Lap in Le Mans”). It’s a very ethereal combination of sustained fuzz guitars, brass, B3 organ and electric bass. It reminds me of a very organic version of a Vangelis type piece. When I was originally thinking about fuzz guitars and muted brass I was always thinking about energetic, dissonant sounds but Marco had this great idea for an ethereal piece. It’s a very unique and rich sound.

How did you want to get across this playful, Butch Cassidy and Sundance Kid-like relationship between Ken and Carroll? In that way, would you describe this as your most “fun” score together?

Sanders: We did have lots of fun on this one, particularly at the sessions with the players. Since the sessions were spread out every few weeks we tried to maintain the same players. We were always very excited to see the band and hear them play. I think while we were writing, particularly for the scenes with Shelby and Miles, we were easily caught up in the great dynamic that was already present on screen before we wrote anything. The film looks great and you can’t beat that cast so it makes the job pretty easy inspiration-wise.

How important was it for the music to reflect both characters’ sense of individuality, while also showing the importance of teamwork, let alone cooperating with Ford?

Sanders: The film does that so well on its own. I’d say the sense of energy and motivation from the Shelby team as a whole inspired the music mainly.

You’ve probably never had to deal with sound effects on the level of this movie before. How did you want to choose instruments that could punch through the car roars? And did you work closely with the sound mixers to ensure the score could be heard?

Beltrami: Well, first of all, I don’t think we’ve ever had a better mix on a movie. This is absolutely brilliant how the car engine sounds, which are like music in and of themselves, and the way they’re used, especially in the race sequences are vitally important to this movie and the music is a lot of that. I think the way that it comes, so you can hear it, a lot of how it comes through was a choice by Jim to have certain elements of the score. I think because of the way we recorded it and the way we had the time to think about it collectively over five months, we found how it could best serve the picture. And so by having certain elements be heard and picking moments that you would hear the cars more prominently or you hear the score more prominently were all choices that he made with the mixers on the dub stage. And when I first heard it, I was blown away by how clear everything was.

Sanders: There was certainly thought put into sounds and instruments that might be able to cut through but it was really the magic of Paul Massey’s music mix in the film that made any of it audible. He and effects mixer David Giammarco have a great working relationship and know how to weave around each other, much like the driving in the races. Paul’s mix in the film was so impressive to us that we included his treatment of the tracks back into our mixes for the final stereos. The soundtrack release is a co-mix with our usual mixer Tyson Lozensky and Paul Massey.

How did you want to spot where the music came in and out of the races?

Sanders: Jim has great instincts about music spotting and I think in general he had a lot of that figured out with Ted Caplan before we got to scoring those sections. Spotting was continually being fined tuned even well into the dub, but again, with Jim and his dub stage crew we had full trust that they’d make great choices with editing and mixing decisions for what’s best for the film.

You’ll be back in monster mode next year with “Underwater.” What can you tell us about the score? And on that note, have you started talking about your approach for the “Quiet Place” sequel?

Sanders: Marco and Brandon Roberts have already finished “Underwater”. I had a lot of fun working on it helping to create the pallet of sounds and helping produce the score. We should be mastering the soundtrack soon. “A Quiet Place 2” should start up soon. We don’t know any details about the film or the musical approach John Krasinski has in mind but hopefully we get to explore ideas from the first film. I hope we can get deeper into the microtonal piano stuff we did previously.

Would you want your music for “Ford v Ferrari” to make people drive faster?

Sanders: Ha! When Mangold was reviewing the soundtrack mixes with us he made a joke about old men getting the score album and playing it in their cars and flying off the road from the score’s racing tension.

“Ford v Ferrari” is now doing laps in theaters, with Marco Beltrami and Buck Sanders’ score album available digitally and on retro vinyl.

Listen to Marco and Buck’s digital (and vinyl soon) score soundtrack on Hollywood Records HERE

Listen to Marco and Buck’s score soundtracks HERE

Watch “Ford v Ferrari” scoring sessions at Marco Beltrami’s website HERE

Categorieën: Filmmuziek nieuws

NEWS: Walt Disney Records Announces 'The Mandalorian' Soundtrack

Soundtrack News - Wo, 13/11/2019 - 01:00
Walt Disney Records releases the digital soundtrack from [m.54498]The Mandalorian[], Lucasfilm's first-ever, live-action series, streaming exclusively on Disney+ today. [a.27121]The Mandalorian: Chapter 1[] digital album features score by Oscar and Grammy-winning composer [c.2269]Ludwig Goransson[] ([m.41692]Black Panther[], [m.43173]Creed[]). The release will be followed by [c.27122]The Mandalorian: Chapter 2[] digital album available on November 15, with subsequent weekly releases for each episode of the series. The Swedish-born composer's approach to [m.54498]The Mandalorian[] score and character themes was to combine organic elements from recorders, pianos and guitars in different ways and infuse tech sounds with a cinematic...

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NEWS: 'Carnival Row' Season 1 Soundtrack Released

Soundtrack News - Di, 12/11/2019 - 01:00
Amazon Studios and Legendary Television Studios announced the release of the [a.27088]Carnival Row (Original Soundtrack)[] with score by Emmy Award nominee [c.810]Nathan Barr[] and two original songs by German musician Patty Gurdy, now available in digital stores and on streaming platforms. The soundtrack features music from Season One of the hit neo-Victorian fantasy television series starring Orlando Bloom and Cara Delevingne, now streaming on Amazon Prime Video. "Getting to explore the world of [m.56464]Carnival Row[] as a composer is among my most exciting musical adventures to date," said Barr. "At its core, the score is heavily thematic and explores themes of identity, love, loss and magic in a fantastical world from the...

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NEWS: Music.Film Recordings Announces 'Midway' Soundtrack

Soundtrack News - Za, 09/11/2019 - 01:00
The Original Motion Picture Soundtrack to Roland Emmerich's World War II epic [m.53502]Midway[] with music by [c.1599]Thomas Wander[] and [c.509]Harald Kloser[] has been released digitally today and will be available on CD on November 22nd, exclusively from Music.Film Recordings. "We agreed that the music for [m.53502]Midway[] should not be a traditional wall-to-wall orchestral score, with sweeping action cues where every change in mood and sentiment will be followed musically. We also set ourselves the goal that the orchestral pieces should be limited to the emotional moments of the film. Early on we asked our long-time collaborator Tommy Schobel to create some sort of musically driven sound design, using synth-based versions of...

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Categorieën: Filmmuziek nieuws

Interview with The Newton Brothers

Film Music Magazine News - Vr, 08/11/2019 - 20:37

Modern horror scoring often relies on weird, unsettling tones and knife-sharp jump scares of percussion and strings, an approach through darkened hallways and nightmare-filled imaginations that refuse to allow any melodic pleasantries to provide an escape for the audience. For fans who may have been no bigger than “The Shining’s” Danny Torrance when they first saw that ghost-plagued kid peddling about a deserted hotel, it’s a sense anti-musical memory that truly defines what a “scary” horror soundtrack is all about.

With his 1980 Stephen King adaptation, Director Stanley Kubrick took the “needle drop” approach that he applied to “2001: A Space Odyssey,” “A Clockwork Orange” and “Barry Lyndon.” But instead of the positively pleasant music of such refined masters as Strauss, Beethoven and Bach, Kubrick drew from the jagged, confrontational likes of Bela Bartok, György Ligeti and Krzysztof Penderecki. They were composers whose “Musique concrète” style threw traditional ideas of harmony to the dogs, their tonal, distinctly uneasy work confronting audiences with all the pleasantry of a psycho killer. Little wonder that these pieces would be ideal for an axe-swinging father besieging his family through a hotel and its adjourning garden maze. It was perfect harmony between fear and imagination, one that viewers wouldn’t soon forget – let alone two composers joined and a director joined at the fearful hip to reprise a trip to the Overlook Hotel for King’s sequel “Doctor Sleep.”

Sobriety and helping the aged pass to the other side have saved an adult Danny (Ewan McGregor) from the alcoholic demons that damned his father. Yet there’s no escaping the torments of the Overlook that come with telepathic abilities that are anything but a gift, even if the young teen Abra (Kyliegh Curran) is delighted by her shining powers that dwarf Danny’s. But that will change to fear as she comes on the radar of the vampiric near-immortals called the True Knot, whose leader Rose the Hat (Rebecca Ferguson) can’t wait to make a feast of Abra’s abilities and pain. Of course all snowy roads shall lead to The Overlook, as Wendy Carlos’ arrangement of the ancient Dies Irae takes on an orchestral power to gloriously bring listeners back to the iconic “theme” of a cult picture whose saga is now given exceptional new life by filmmaker Mike Flanagan.

Cementing himself here as a new master of ghostly horror Flanagan has an equally strong psychic connection to the Newton Brothers (aka the non-related Taylor Newton Stewart and Andy Grush). While their resume has varied from the bonkers illegality of “Pawn Shop Chronicles” to the hip vibes of “Life of Crime” and the political subterfuge of “The Runner,” it’s in the company of the uncanny, and Flanagan in particular where they’re most striking abilities lie. As begun with the glass-like tonalities of a look inside Oculus’” haunted mirror, The Newtons have given unique voices to “Hush,” “Ouija: Origin of Evil,” “Before I Wake” (alongside Danny Elfman), the Stephen King adaption of “Gerard’s Game” and “Doctor Sleep’s” spiritual series cousin “The Haunting of Hill House” (currently in the process of a new Netflix address). All of these chilling works say much about the simpatico vibrations of a collaboration that’s reworking the haunted house genre into a thing of dark, intelligent beauty, no more so than with “Doctor Sleep.” Much like Flanagan’s picture-perfect recreation of Kubrick’s look and tone, Stewart and Grush seamlessly incorporate “The Shining’s” hit “tunes” into their own fearful though process.

But where movies and scores that come from super fans can fall into hollow, though well-meaning imitation, that’s most certainly not the case with “Doctor Sleep.” Much like Danny, Stewart and Grush confidently walk into their personal Room 237 to absorb the spirits of the composers within, absorbing the telltale dissonance, eerie voices, uncanny heartbeat, nerve-rending strings and best of all that Dies Irae into a new, utterly chilling spirit. What the Newtons bring to that bathtub is a chilling sense of the cosmic scope of evil at play here, using ritualistic rhythm, unearthly sampling and twisted percussion for a meeting of the minds between the sourced avant-garde music that gave birth to modern horror scoring, and the possibilities of where that terrifying astral, and sonic plane might go next. Rarely has modernistic shock effect been played with the unnerving subtlety of “Doctor Sleep” with a truly haunting, transfixing way that has something new to say about the soundscape of “The Shining” and horror music in general.

What did “The Shining” and its music mean to you before taking on “Doctor Sleep?”

Taylor: This is one of the few films I remember watching as a teen that left such an impression on me. I could not stop thinking about it for days. The music was just as impactful. The music and the film married up perfectly in a way that’s made it stand the test of time. “The Shining” is a true cinema classic.

Andy: I still remember exactly where I was and who I was with the first time I watched “The Shining.” It was at a youth group retreat in a cabin in Big Bear, CA. I had never seen anything like this film. It was disturbing, but in a way that scared me and forced me to think more about it. It sat on my brain. Only as an adult did I eventually come to understand more of the content, but it’s clear now why it resonated so deeply with me even at a young age.

Did your collaboration with Mike, as well as yourselves, differ here given the scope, and expectations of “Doctor Sleep?”

Taylor: Not at all. We were prepared for blood, sweat and tears as we do on every project. We always push ourselves to make the best possible score for our director and their vision for the film.

Andy: The collaboration didn’t differ too much from our previous projects with Mike. Our research at the front end of “Doctor Sleep” was one aspect that differed, because like anything in life, you’ve got to understand history to understand the future. We were familiar with the music in the film, but we didn’t know a lot about the specifics of it. Given the expectations of “The Shining” / “Doctor Sleep,” we wanted to make sure we knew everything we possibly could about “The Shining” universe before writing for this continuation of the story.

As this is based on a sequel book by Stephen King, who appreciates Mike’s work, did that make your breath slightly easier than working on a film and score that would have no affiliation other than using the author’s name?

Andy (L), Mike (C) & Taylor (R)

Taylor: No not at all. The bar on any movie, no matter if it’s a re-make, a sequel etc. has the same set of rules and expectations. Mike crafted an amazing script that Stephen King, the Kubrick Estate and Warner Brothers loved. That’s no easy task.

Andy: This was a really heavy project to work on. Having Stephen King appreciate Mike’s work almost set the mark even higher for us to make sure we gave this every bit of detail and nuance that it deserved.

What makes for a score that truly scares you? And why do you think the original “Shining” soundtrack is so nightmarish – let alone the movie?

Taylor: There are two parts to that question. I don’t believe any music is particularly scary unless you’re invested in the characters or the story. The scares just tend to not land. But if you’re invested in the story then you have the opportunity to create something incredibly unsettling. A great example would be “Jaws,” “Psycho” or “The Exorcist.” What makes “The Shining’s” score so scary was its use of dissonance and particularly inconsistency of rhythm. There’s very little predictability in the music, which makes you feel uneasy. And of course you’re invested in the Torrance family and you want to find out what happens to them. The score is mostly comprised of \needle drops that don’t change on shifts in the film that a composer would normally make. That added another element of uncertainty to the overall cinematic experience.

Andy: I agree with what Taylor said. To add onto that, finding motifs and sounds that are new and unexpected is something else that feels scary and unfamiliar. It’s hard to know on each project what this equates to, but it’s always an exploration of music and sound to picture to find out what’s working the best. It’s about being open and informed by the journey as you go. “Scary” music isn’t really definable by itself. I think it depends on the story, the characters and the setting. The music from “The Shining” really gets to you because it feels unfamiliar. While 20th Century music is not unfamiliar to everyone, it’s very complex and nuanced and can feel very unexpected in a wonderful way!

Stanley Kubrick directs Joe Turkel and Jack Nicholson in The Shining

“The Shining” was one of the first major “Avant garde” soundtrack albums to make an impression on listeners. How would you say Kubrick set the tone for horror scoring since then?

Andy: This is an excellent question, because a lot of what I explored in the research phase of this project was Avant-garde music in films prior to “The Shining” and after it. One of the most interesting stories that I did not know a lot about dealt with Bebe and Louis Barron, who scored “Forbidden Planet” in 1956. The things they did in that score had not been done before. There was an exploration that was so deep that they explained some of the music not as music, but as “characters.” They believed the notes were not just music to be performed, but that the music was a living character. A lot of the technology they were inventing at the time defined their process and the sound. Similarly throughout history, technology, knowledge and process inform stories and creativity. Musique concrète is all part of this and something we also spent a lot of time working on. Kubrick’s use of music and sound in “The Shining” was a brilliant way to take a re-imagining of recorded music and apply it to his film. In many instances, multiple pieces of music are edited on top of each other, furthering the feeling of chaos. It’s almost a “remix” of Avant-garde music. In a way, it was using samples of music. What if you loaded snippets of this music into an MPC? The pieces of music used in “The Shining” are all brilliant works of art. To use them together in the way that Kubrick and his team did, was immensely different from most film soundtracks.

How important was it to be faithful to the mix of Wendy Carlos music and modernistic pieces that made up the original “Shining” soundtrack?

Wendy Carlos (L), Rachel Elkind (R)

Andy: Wendy Carlos and Rachel Elkind composed and recorded some excellent music and sound for “The Shining” which has become a part of the film. As I understand it, Kubrick was attached to the Berlioz version of “Dies Irae,” and as all composers know, if a director has an idea that they believe is paramount to the film, that idea will usually be in the final film. Musique concrète is essential in “The Shining.” Even the needle drops could loosely be considered Musique concrète in the way they are edited together. It was very important to us to recognize this, but to also use the Musique concrète as something to expand “The Shining” universe into the “Doctor Sleep” universe. We went through the “Doctor Sleep” novel in huge detail and used that to employ our early ideas on what raw materials to record as part of our sound palette.

Could you talk about spinning off from Wendy and the pieces by Bartok and Ligeti into your own score?

Andy: All of these composers are legendary. Spinning off from them was a daunting challenge, but ultimately, one that involves understanding their music in context with the film and then setting that aside and composing for “Doctor Sleep.” It was very important to us that “Doctor Sleep” be its own unique sound and story. That also meant we had to explore every single idea we had.

Doctor Sleep Scoring Session

On the flip side of that, is there a danger of being too scared to go for a different style that might not be of “The Shining’s” musical soundscape?

Andy: This was a benefit of having worked so many times with Mike. We know that Mike will let us try things. To your question, some of those things were difficult to see to fruition because they were so different from “The Shining” world, but that was all part of the journey. We’d have ideas based on the novel, the script or discussions with Mike and we’d see those ideas through. Not taking those chances is irresponsible because it’s our job to get uncomfortable and to challenge the ideas we have. There can be no bad idea in this process. At some point, myself or Taylor or Mike or the producer Trevor Macy can decide that idea is not right for this project (or maybe any project, ha!) but ultimately, if you’re scared, you’ll never be able to find those ideas that resonate with the film. Some of it involves a saying that I love to remember when we’re weeks into exploration; “If you think, you stink.” The thinking comes in the research early on, but at a certain point you need to rely on the core of composing which is playing music, playing sound, making noise, capturing audio, performing an audio ballet of treatment. “Forbidden Planet” was done in the 50’s and even then, the Barron’s employed production tools to achieve effects of recordings. There was no Logic Pro or Pro Tools to do this, but they had their own techniques for reversing audio, applying effects and coming up with interesting motifs and sounds. I would guess that film was a journey for them in the same way that this and all projects are a journey for us as composers. Being open to every idea is crucial.

Forbidden Planet composers Bebe and Louis Barron.jpg

Taylor: We wanted to write something true to the story and characters of “Doctor Sleep.” As it’s very much it’s own story. As with any good sequel you want to connect certain things.

How did you want to approach the soul-sucking villains of “Doctor Sleep?”

Taylor: Yes the true Knot. They’re essentially ancient travelers with vampiric-like characteristics. We know they’ve been around for centuries, but where do they come from? How old are they? The book hints at these answers. Musically we knew it needed to feel like a collage of rare and unusual instrumentation. Particularly, the use of percussion and woodwinds to underline the ancient traveller elements. The Hurdy Grande also played an important role. As its predecessor, the Hurdy Gurdy has been around for centuries. Often just cranking the instrument on one note was incredibly effective. It captured that earthy and organic feel, while at the same time feeling dark and evil.

How was it to balance the movie’s earthbound, visceral action with its surreal quality of being on a haunted, astral plane?

Andy: Natural vs. Supernatural. That was a note I kept writing on my tab-notes in my “Doctor Sleep” paperback. Those two ideas are in constant flux in “Doctor Sleep.” The instrumentation we use throughout the film was specific to these ideas. Wind was one example. It haunts Dan Torrance as an adult. Our initial thought on this was to use wind instruments. But after some exploration and recording, we realized that there’s a sense of the supernatural that the wind brings. A wind harp is an ego-less instrument. We cannot employ our knowledge or skill on the instrument. We can build it to have characteristics, but apart from that, once you set it up, it performs infinitely different every time based on temperature, wind speed, humidity etc… It’s a bit of the natural giving you a doorway to the supernatural – at least I think it is. We can identify what it is that makes the wind blow, but I don’t think anyone will deny a sense of “something else” in nature’s ebbing and flowing. Our recordings of the wind harp were an integral part of the film. It became raw material that we used as just one of the many Musique concrète ideas. While the wind harp leaned more toward the supernatural, the yin to that yang was the wind chimes we recorded. Here you have man-made instruments like the wind harp, but there is an ego/human attached to the performance of them. The wind harp represented a bit of Dan’s early idea of what it is to shine, while the wind chimes represent this new chapter in Abra not hiding that shining, but rather embracing it.

How was it to score the Overlook, and what lies within it?

Taylor: It was an incredible experience. I think everyone including the orchestra had that feeling. The, “chill factor.” The Dies Irae theme is powerful. It’s a moment I think will stay with us for some time

Andy: I will never in my life forget the moment of seeing the faces of the orchestra light up a few notes into our arrangement of Dies Irae for the drive to the overlook. It was that indescribable feeling that music gives you in life. For the rest of the overlook, Mike was very specific that he did not want anything to get in the way of the overlook experience. I think that’s what makes it so powerful in “Doctor Sleep.” Everything that each individual person experienced in “The Shining” comes back to you at the overlook. Scoring that would be trying to force people to feel a certain way. It will sound crazy, but we spent weeks coming up with exactly the right balance of instrumentation and swells to land on the sound that we all agreed worked for this newly iconic scene that Mike shot.

Talk about your ritualistic use of voice and percussion in the score.

The Doctor Sleep Chorus

Taylor: We wanted the percussion to feel a bit piecemealed from all parts of the world and history. Just like The True Knot. Everything from the Marvin, bowed timpani via metal and bowls, shells and various shakers hand drums became the percussion palette. We used our voices processed through modular systems and choir muttering chants of an ancient language.

For all of its menacing dissonance, there are also moving sequences of Danny telling his patients how to naturally come to death, music that’s only heard on the album. Could you talk about scoring those sequences, as well as choosing when to bring in more “earthly” and relatable melody into the score?

Andy: There was a huge lightning storm in Los Angeles in early March of this year. That night, I stayed up all night in the studio working on the score that became the score for these scenes. I have a skylight in my studio and it was incredible to have the sky exploding and flashing throughout the night while this music was written. It’s funny because it was a pivotal point in the film for the emotional content. After that night, it was details to finish the score, but that emotional content was the final push and difficult to find because how do you underscore 40 years of trauma. It can’t be melodramatic, it can’t be stale and it can’t be something that points a finger. This music stayed into the film until a few days before the final print and Mike looked at Taylor and I, and said, “You guys are going to kill me.” Then he asked the mixer, Jonathan Wales to mute the music in those scenes. We all loved those pieces of score. But ultimately, taking them out proved to be an excellent detail that Mike commandeered. We included two versions of this material on the soundtrack; ‘We Go On’ and ‘Doctor Sleep.’ It’s an 81-piece orchestra playing off of each other. They’re set up in a unique formation so that there is a natural panning and movement in the score that feels grounded, earthly and relatable. Apart from that, Ewan’s magnificent performances at Mike’s direction provided exactly the pathos needed to let you feel what you feel.

You’ve also recently scored the sailboat-bound horror film “Mary.” What was that experience like of being in close, haunted confines?

Taylor: We’ve always found the open sea to be a bit haunting. You’re in this small space with a massively open expanse around you. You’re alone other than the millions of creatures in the sea beneath you. There’s a siren aspect to “Mary” that we loved and really leaned into that on the film.

Next up you’re going to be scoring an Americanized take on “The Grudge.” What will your approach be there, especially given that it’s set on our soil as opposed to its Japanese roots?

Andy: We’ve just completed the score for “The Grudge” and we’re very happy with how it turned out. There’s a mix of emotion and chaos both through traditional writing and recording as well as the Musique concrète we explored on this one to gel the world’s together.

Are you happy to have found a niche in horror scoring?

Andy: We love the freedom that the genre affords us. It’s dark, it’s beautiful, it’s terrifying and it’s emotional.

In the end, do you think you’ve taken the musical spirits of Wendy Carlos, Ligeti and Bartok to their next phase with “Doctor Sleep?” And how do you hope this film and its soundtrack will stand next to the original “Shining?”

Andy: We hope that people enjoy “Doctor Sleep” as much as we do. Ultimately, at the onset of every project, we hope that our music becomes part of the film with all of the other parts of the film. It’s a huge compliment to have score marry to picture in a way that supports but doesn’t get in the way – to swell when it’s needed, be quiet when it’s needed, be purposeful while also being unpredictable. It’s difficult to be unpredictable without steamrolling dialog or visuals.

Do you hope your music for “Doctor Sleep” will give listeners nightmares that will wake them out of their slumbers? And if so, will that mean you’ve succeeded?

The Newton Brothers – Andy Grush (L) and Taylor Newton Stewarr (R)

Andy: The CBS Entertainment reporter Denise Poon asked us last week at the premiere what it felt like to be the sound of her nightmares. While we don’t want to stand apart from the film, we’re also aware that we carry the feelings and ideas of films with us after we leave the theater. I play soundtracks constantly to evoke a feeling from a film in my day-to-day life. I play “Remember the Titans” when I’m running, I play Erich Korngold when I want to feel adventure, I play “Interstellar” when I’m having life changing experiences, I play “Raiders of the Lost Ark” for inspiration and on and on. I hope that our music allows fans of the film to take “Doctor Sleep” with them on a plane or on a run or on a drive or in a nightmare. I’m trying to figure out which cue I’d listen to on a plane….yikes. Ha!

“Doctor Sleep” is now in theaters, with The Newton Brothers’ score available on WaterTower Music HERE

Listen to The Newton Brothers soundtracks HERE

Visit The Newton Brothers web site HERE

Categorieën: Filmmuziek nieuws

NEWS: Sony Music to Release Brian Tyler's 'Charlie's Angels' Score

Soundtrack News - Vr, 08/11/2019 - 01:00
Sony Music announces the November 8 release of [a.27033]Charlie's Angels (Original Motion Picture Score)[] with music by [c.361]Brian Tyler[]. Available for preorder now, the album features music from Elizabeth Banks' [m.49477]Charlie's Angels[]. The film makes its theatrical debut on Friday, November 15 via Sony Pictures. "It was an absolute pleasure composing the score for [m.49477]Charlie's Angels[] for the incredible director Elizabeth Banks," says composer [c.361]Brian Tyler[] of the score. "Together we endeavored to create a score that enhanced the mystery, action, fun, and power of the movie while giving a nod to the movie's 70s roots. I composed new themes for the film that would feel nostalgic yet fresh and also work...

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Categorieën: Filmmuziek nieuws

NEWS: Sony Masterworks to Release 'The Irishman' Soundtrack

Soundtrack News - Di, 05/11/2019 - 01:00
Sony Music Masterworks announces the November 8 release of [a.27073]The Irishman (Original Motion Picture Soundtrack[], an album of music from the Martin Scorsese-directed film starring Robert De Niro, Al Pacino and Joe Pesci. Available for preorder now, the soundtrack features music carefully curated by Scorsese and music supervisor [c.4239]Randall Poster[] as a sonic companion to the film's enthralling narrative of organized crime in postwar America. The twenty-track collection includes top hits by legendary artists Fats Domino, Jackie Gleason, Jerry Vale, Johnny Ray, Marty Robbins, Pérez Prado and more, as well as a new theme composed by legendary guitarist and composer [c.3949]Robbie Robertson[]. Making its critically-acclaimed...

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Categorieën: Filmmuziek nieuws

NEWS: Milan Records Announces 'Dickinson' Season 1 Soundtrack Album

Soundtrack News - Za, 02/11/2019 - 01:00
Milan Records, an imprint of Sony Music Masterworks, today releases the soundtrack for Apple's [m.55355]Dickinson[] - [a.27051]Dickinson: Season 1 (Apple Original Series Soundtrack)[] with music by [c.18321]Drum & Lace[] and [c.12016]Ian Hultquist[] is available now exclusively on Apple Music and iTunes. The album features music from Apple Original [m.55355]Dickinson[], starring Hailee Steinfeld as poet Emily Dickinson in a darkly comedic coming-of-age story. All episodes of [m.55355]Dickinson[] will debut exclusively on Apple TV+, a new home for the world's most creative storytellers, on November 1. "Getting the chance to score Emily Dickinson's world was really exciting to us from the start, as what Alena Smith (creator,...

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Categorieën: Filmmuziek nieuws

Audio: Interview with Terence Blanchard

Film Music Magazine News - Vr, 01/11/2019 - 23:49

ON THE SCORE is sponsored by La-La Land Records

New Orleans-born Terence Blanchard was already an icon in the jazz world when he came into filmmaker Spike Lee’s musical orbit for 1991’s “Jungle Fever.” It would begin an acclaimed collaboration that chronicled numerous facets of his nation’s black experience while drawing upon its rhythmic musical tradition from Africa to America. Blanchard also showed his love for the rousingly thematic brass sound of Aaron Copland in the epic sweep of “Malcolm X,” then heard the drug-drenched urban experience of “Clockers” before draw on a 70’s groove with “BlacKkKlansman.” It was an Oscar-nominated score whose outraged orchestra vocally detested Trump’s very fine people while also digging a 70’s groove for an undercover cop who pulled the white sheet over the Klan.

Along the way, Blanchard’s other filmmaking collaborations heroically flew alongside The Tuskegee Airman with “Red Tails,” spun alongside the R & B changing playlist of “Cadillac Records” and let loose police gangstas in the LA riots of “Dark Blue.” But perhaps Blanchard’s most impressive partnership has been with Kasi Lemmons, the actress of “Candyman” and “Hard Target” turned filmmaker. Her emotional vision had Blanchard conjure the mystical women power of “Eve’s Bayou,” dig into the surreal mystery of “The Caveman’s Valentine” and speak the DJ truth for “Talk to Me.” But it’s likely that Blanchard and Lemmons’ most important partnership in an America regressing to a Civil War past will be with “Harriet.” It’s a powerful, old-school origin story for a real-life superhero, as the seemingly fragile slave Harriet Tubman escapes her masters, growing in confidence to return again and again to a Confederate-ruled land whose slave masters would like nothing better than to martyr the woman called Moses.

Given a heroine whose pursuers can’t believe is a woman, let alone some of her passengers on the Underground Railroad, Blanchard creates two themes. One sings with vulnerable winds and piano while the other possesses the kind of mighty brass that’s a signature for the composer. Bringing electronics into music that’s about tenderness, strength and deliverance for a woman who’s as much a Joan of Arc figure as the bible’s man of deliverance, Blanchard creates a vibrantly rousing score that proudly raises its fist in defiance. His “Harriet” soundtrack once again shows Blanchard’s talent for making an iconic black figure come musically alive like never before, a shackle-breaking passion that Terence Blanchard now talks about in a new episode of “On the Score.”

Click above to Listen Now or Click Here to Download

Buy the Soundtrack: HARRIET

Buy the Soundtrack: MALCOLM X

Buy the Soundtrack: BLACKkKLANSMAN

Visit Terence Blanchard’s web site HERE

Categorieën: Filmmuziek nieuws

NEWS: Silva Screen Records to Release The Musical Anthology of 'His Dark Materials'

Soundtrack News - Vr, 01/11/2019 - 01:00
In this introduction to the music from the television series, composer [c.1465]Lorne Balfe[] delves into the story and character themes from [m.56364]His Dark Materials[], the new adaptation of Philip Pullman's acclaimed trilogy. Performed by the BBC National Orchestra of Wales, the soundtrack album has attracted a stellar cast of additional contributing recording artists. The series will have its global premiere on Sunday, November 3rd on BBC One and on Monday, November 4th on HBO. The first soundtrack album – one of two soundtrack releases for the series – will release digitally on November 3rd followed by CD and vinyl releases later. For [m.56364]His Dark Materials[], [c.1465]Lorne Balfe[] has assembled a superb, diverse, and...

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Categorieën: Filmmuziek nieuws

NEWS: Weekly Roundup: October 25

Soundtrack News - Za, 26/10/2019 - 01:00
Announced this week were new composer assignments for [c.809]Michael Andrews[] ([m.54767]The Lovebirds[]), [c.2455]Dominic Lewis[] ([m.55391]My Spy[]) and [c.20877]Michael Abels[] ([m.56933]All Day and a Night[]), among many others. For the full list of composer and music supervisor assignments from this week, [url./composers/]click here[]. Over 35 soundtrack albums were released this week. [da.2019-10-22]Click here for the full schedule[]. Opening in theaters nationwide this week are (with music by): [m.54792]Black and Blue[] ([c.1271]Geoff Zanelli[]), [m.55621]Countdown[] ([c.8161]Danny Bensi[] & [c.1781]Saunder Jurriaans[]) and [m.48860]The Current War[] ([c.8161]Danny Bensi[] & [c.1781]Saunder Jurriaans[]). We are tracking song credits for the following new...

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Categorieën: Filmmuziek nieuws

NEWS: Decca Records Announces 'Why We Hate' Soundtrack

Soundtrack News - Za, 26/10/2019 - 01:00
Decca Records has announced the digital release of the Original Soundtrack to Discovery Channel's 6-part documentary series [m.56840]Why We Hate[], scored by four-time Emmy-winning composer [c.855]Laura Karpman[]. The docuseries is executive produced by Oscar-winning filmmakers Steven Spielberg and Alex Gibney and directed by Emmy-winners Greeta Gandbhir and Sam Pollard. [m.56840]Why We Hate[] explores one of humanity's most primal and destructive emotions – hate. At the heart of this timely series is the notion that if people begin to understand their own minds, they can find ways to work against hate and keep it from spreading. The series began airing on Discovery Channel on October 13th, and additional episodes will air each...

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Categorieën: Filmmuziek nieuws

NEWS: Milan Records to Release 'Spell' Soundtrack

Soundtrack News - Di, 22/10/2019 - 01:00
Milan Records, an imprint of Sony Music Masterworks, announces the November 1 release of [a.26954]Spell (Original Motion Picture Soundtrack[] with music by chart-topping singer, songwriter, musician and member of Fall Out Boy [c.22364]Patrick Stump[]. Available for preorder now, soundtrack features music from Crush Pictures' award-winning, darkly comedic psych-thriller, with Stump's original compositions capturing the emotionally driven narrative. Also premiering today is the soundtrack's lead offering "Deep Blue Love," a soulful, blues-tinged ballad performed by Stump and recorded exclusively for the project – listen here. [m.56880]Spell[] made its prize-winning debut at last year's LA Film Festival and will premiere in theaters...

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Categorieën: Filmmuziek nieuws

NEWS: Fox Music & Hollywood Records Announce 'Jojo Rabbit' Soundtrack

Soundtrack News - Zo, 20/10/2019 - 01:00
Fox Music/Hollywood Records releases the digital original motion picture soundtrack to [m.55572]Jojo Rabbit[], which was directed, written, produced by and stars Taika Waititi. [c.534]Michael Giacchino[] composed, produced and conducted the music for [m.55572]Jojo Rabbit[], which was recorded in London. The soundtrack includes three score cues alongside classic tracks performed in German from The Beatles, Roy Orbison and David Bowie, as well as songs from Ella Fitzgerald, Tom Waits, Love and more. The [m.55572]Jojo Rabbit[] soundtrack and score album are available today at streaming and download services, as the film opens in U.S. theatres.     Waititi brings his signature style of humor and pathos to his latest film, [m.55572]Jojo...

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Categorieën: Filmmuziek nieuws

NEWS: Weekly Roundup: October 18

Soundtrack News - Za, 19/10/2019 - 01:00
Announced this week were new composer assignments for [c.534]Michael Giacchino[] ([m.54836]The Batman[]), [c.564]Christophe Beck[] ([m.55093]Free Guy[]) and [c.1294]Abel Korzeniowski[] ([m.56872]Ironbark[]), among many others. For the full list of composer and music supervisor assignments from this week, [url./composers/]click here[]. Over 35 soundtrack albums were released this week. [da.2019-10-15]Click here for the full schedule[]. Opening in theaters nationwide this week are (with music by): [m.53092]Maleficent: Mistress of Evil[] ([c.1271]Geoff Zanelli[]) and [m.53145]Zombieland: Double Tap[] ([c.1582]David Sardy[]). We are tracking song credits for the following new theatrical releases: -[m.53145]Zombieland: Double Tap[] (22 songs) -[m.55996]Greener Grass[]...

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Categorieën: Filmmuziek nieuws

NEWS: 'Maleficent: Mistress of Evil' Soundtrack Released

Soundtrack News - Za, 19/10/2019 - 01:00
Walt Disney Records releases [m.53092]Maleficent: Mistress of Evil[] digital soundtrack featuring score by Emmy Award-winning composer [c.1271]Geoff Zanelli[]. The soundtrack also features the end-credit song, "You Can't Stop the Girl," performed by Warner Records recording artist Bebe Rexha. The soundtrack is available today from Walt Disney Records as the film opens in U.S. theaters nationwide. Director Joachim Rønning brought [c.1271]Geoff Zanelli[] on board to write the music. The composer sees his music score as the element in a film that bridges the space between the screen and the audience. "That is true in any movie, really, but especially with fantasy movies where the film relies on the audience being able to suspend their...

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Categorieën: Filmmuziek nieuws

Interview with Michael Giacchino

Film Music Magazine News - Vr, 18/10/2019 - 18:53

In the numerous heartwarming, and heroically empowering blockbuster franchises that he’s scored, Michael Giacchino’s Oscar-winning gift for warm and morally righteous orchestral melody haven’t left kid-filled audiences questioning the good in the world. But as the current political climate in America progressively resembles Germany from an era we thought we’d said never again to, Giacchino’s most adventurous music is now shining in a particularly audacious – if no less powerful way for “Jojo Rabbit.”

But then, leave it to cheeky Kiwi filmmaker Taika Waititi (“What We Do in the Shadows,” “Thor: Ragnarok”) to put his distinctively whimsical, and ironic spin on the decidedly unfunny situation of the propagandized kid Jojo (Roman Griffin Davis) discovering that his resistance mom Rosie (Scarlett Johansson) has been sheltering the potentially monstrous Jewish girl Elsa ((Thomasin McKenzie) in their apartment. Of course, Waititi also casts himself as the child’s best bud Hitler for the growingly ominous shenanigans that ensue when the nutty Nazis begin to catch on.

That “Jojo Rabbit” works as both surreal satire and a bittersweet family drama is a testament to partnership between one of the most gifted comic auteurs since Mel Brooks and the heir apparent to John Williams, with both pushing their limits to produce a cinematic Holocaust history lesson unlike any other. For Giacchino, it’s starting his theme with one of the nuttiest, blarting brass bands this side of “Hogan’s Heroes” for a Hitler Youth training camp – then gradually bringing in orchestral colors beyond the red, white and black flag as the film’s unconventional (and execution warranting) family come together. But that’s only if Jojo can see the young woman without the music of her beastly Jewish brethren, terrifying strains that could easily play for the relationship between innocent kid and deceptively youthful female bloodsucker of Giacchino’s “Let Me In.”

Sure the composer may have gone inside out to reveal the Id of an adolescent, but gradually opening up a little boy beyond Nazi madness is a whole other deal. Yet Giacchino’s chamber-inflected music understands his often-adolescent kid audience beyond measure, his delicate emotions flowering inside of this very confused boy, who’s not helped at all by the honeyed words of his imaginary Fuehrer friend. That “Jojo Rabbit’s” score progressively becomes more moving, and eventually devastating in an unforced way shows just how well Giacchino can poetically change the hearts and minds of the characters, let alone his music’s audience. Indeed, one can imagine just a few of the Marvel, or even Disney viewers lured to this by wacky Waititi to find that an era and country likely unknown to them is now more than relevant in theirs, a perilous journey of discovery guided by always-memorable themes and oddball instrumentation that brings out a new side of Giacchino’s inventiveness for his most distinctive film and score yet.

Had you seen Taika’s movies before this, and if so, what struck you about them and their sense of humor?

I’m a huge fan of Taika’s movies. “Hunt for the Wilderpeople” is one of my favorites. I love that film so much. And of course “What They Do in the Shadows” is an amazing film. Taika is absolutely one of the funniest people around. But the thing about his movies is that there’s always a sense of empathy to them. There’s emotion that goes along with them, so they’re more than just comedies. He’s able to do both very well and very stylistically in a way that no one other director does them. So when, when he called about this new movie, I was like, “Oh man, that sounds like an amazing opportunity to work with someone who I admire a whole lot.”

What do you think led Taika to you for “Jojo Rabbit?”

I think it’s because I’m, known, for better or worse, as a composer who can make people cry. “Jojo Rabbit really needed a strong emotional center to it. Taika mentioned that he had watched a lot of movies that I had worked on and that he liked that aspect of the music- that it didn’t ignore the most important and emotional part of the story. And for the one that he was about to make, making sure that the core of the story remained emotional was really important to him, and me as well. That’s how I approach every movie I work on, no matter, no matter what kind of film it is, whether it’s something with a little more comedy, something that is serious or something that is action based. For me it’s always about the emotional core of what’s happening.

You’re both like Flying Wallendas on this movie, because one step off of that extraordinarily thin tonal tight rope and it’s catastrophe. How hard was it for you to keep that balance between absurdist humor and drama?

It was like being on a tight rope every step of the way, and it was something that we discussed a lot during the whole process. You know, whether or not we should comment on something funny that is happening or whether we might take something people might construe as funny and make sure that it reads is more serious. There’s a scene where they’re in the kitchen and Hitler is giving this speech to the boy and it gets more and more intense as time goes on. And I didn’t want anyone to ever feel like that was something that they should laugh at. So it’s one of these scenes where we just put a very low tone underneath that, just to kind of say, “No, this is serious.” That was a very delicate thing. It wasn’t something over scored. It was looking for those very simple ways to make sure that whatever you were watching in the film, you took it very seriously. We did allow the comedy to play on its own if it wasn’t in a scene that was involving something more serious. But it was always looking for those moments where we had to make sure that what we were doing was resonating with what the story was asking for.

If there are any two scores that “Jojo Rabbit” would hearken back to, it would be “Let Me In,” which deals with the relationship between a child and a child-like monster, as well as “Inside Out,” which is about the emotion inside of a kid’s brains. Do you see that similarity here?

I think if you combine those doors scores, you might have this one! But I always kind of looked at “Jojo Rabbit” as its own thing. Sometimes you get on jobs that you’re sort of afraid of, and I think that’s the best place to be. You should have some sort of fear about what you’re trying to create because it drives you to, to do the best you can and be better. This was definitely one of those projects. When I saw the movie for the first time, it immediately became one of my favorite movies I had ever seen. I would put it into my top 10 favorite movies, and that was before I even did anything to it. And now having been a part of it, it’s one of those movies that you look back on and say, “I’m really proud to be a part of this because it has something to say. And that’s extremely important in our day and our world right now.

“Jojo Rabbit” starts off with a really fun Teutonic, oompah-loompa marching band melody that will become a much more serious main theme. How did you want it to evolve through the score?

I kind of had to fight to start off the film like that. Not with Taiko or the producers though. But you know, you know when you’re marketing a film like this, there are a lot of people that are trying to balance all the different outcomes of what audiences might think of it. So my idea was to start with a German march that was basically the main theme of the film and having the kids singing this song. But if you look at the English translation of those lyrics, you could see without any context that, “Oh, this is a very fascist song, and nothing that I would want to be a part of.” But if you go through the process of this whole story with this boy, and at the end of the film, reread those lyrics, my hope is that you would have a completely different interpretation of what those lyrics really meant. Because at the end of the film, those lyrics are really all about inclusion and tolerance and love. But it’s all about how you look at it. That’s the truth for so much of what goes on in our lives. Perspective is everything. So for me it was about that boy’s journey from being one thing to being a completely different person by the end.

How “Teutonic” did you want the score to sound for the pompousness of the Nazi party, as well as the setting’s Germanic character?

Well, I wanted it to feel legit. I wanted the score to feel like it could have been written at that time, especially the character themes. I wanted them to be pieces of music that someone may have played on a record player in the 30s, or before then. I want the music to be something that could have existed in that time. I didn’t want it to be something that was modern that we were putting on top of this already anachronistic movie. I thought it was important to keep the music true to the period so that it just sort of fit in and made everything feel as real as it could be.

What were some of the instruments that spoke of Nazi-era Germany to you?

There’s tubas, recorders, an acoustic guitar that we use in different ways, a lot of odd percussion and a string quartet we have at the center of it. There’s also piano, a little bit of harpsichord and a lot of odd things. It’s a mix and match of a bunch of different weird things. But the movie sort of is that, and it felt right to be eclectic and yet try and still feel as though it was something that could have come from that day. It’s about having the melodies that you can use those types of instrumentations with that will still feel organic to the time.

How did you want to chart the relationship between Jojo and Elsa, one that goes from her being a Jewish “monster” to becoming his best friend?

It’s a slow sort of metamorphosis, because it’s slow realization for him, I feel like in his heart, he’s a good kid. But he is a kid who just sort of grew up at a time where, you know, when you’re 10 shit like this looks cool. To be part of a big gang like that, to have a bunch of friends, to be at the camp, to be a part of something. That’s what you want when you’re a kid. And you don’t always look at the deeper meaning behind it because you’re more interested in the, the surface value of being accepted into any group. But once you look a little deeper, it becomes more of an emotional journey. And I felt like the music for me wanted to experience that as well. I always want to be in the seat of the character to make sure that the audience is sort of feeling the transformation that the character is feeling emotionally. So it’s a slow process and it gets more and more in depth as you get into this film. This is one of those movies, and scores that slowly unravel and surprise you at how emotional it all becomes. We held off as long as we could before those big musical moments happen.

How did you want to portray the relationship between Jojo and his mother Rosie?

It’s like the relationship between any good mother and her child. She sees the faults in him and yet she loves him and trusts that he will then come around at some point. She’s in a precarious position too because she’s also working for the resistance and is doing things against the Reich and is living this very dangerous life. But at the same time she stays positive. She tries to keep a good face for Jojo because she knows that this is a difficult situation that she has to try and get him through. But at the same time she sees the bigger picture of how important it is for her to fight against something this awful.

The score and the movie become quite a bit more serious as they go along until there’s almost no real “comedy” in it. How did you want to guide the score to that dramatic path?

Michael Giacchino celebrating his 50th birthday at the Royal Albert Hall. (Photo by Andy Paradise)

I always try to stay clear from what I consider to be “funny” music. I think it’s better to write music to comments on the emotional situation. Let the, let the action be funny. Once in a while I do music that sort of “leans” into the comedy a bit. But for the most part, I try to stay on the straight and narrow and, and just be with the characters. “Jojo Rabbit” is a film that slowly shapes into something you’re not expecting. But that’s the truth of all of this. It’s about a horrific, horrific time in history. And, there’s no way to tell that story without being serious. Even in the guise of a satire such as this in the end you’ll have to come to terms with how serious this is. Taika and I never wanted to lose sight of that.

How do you want to play the very real Nazi threat that Jojo and his family are facing?

I think you just treat it with earnestly. You just write music that’s honest to how serious the threat is. And when those guys enter his home, there’s no funny music at all. It’s all very tense. And even though they are saying things that may be construed as ridiculous and stupid, which you know, most of them were. Yet the music always needed a to remind you that they are a threat. While Taika can make fun of them, my job was just to make sure that the audience felt like there was a true threat in front of Jojo.

A truly amazing cue in the film is where Jojo follows a butterfly to make a heartbreaking discovery.

That was a difficult cue to write. There was a lot of back and forth between me, Taika and the editors about how long the scene should go on for. We did three or four versions of it, but the music never strayed far from what the core idea of the scene was. It was always about timing and length and making sure that when we get to the most emotional part of that scene it landed the best it could. So that was a difficult thing to do. But I felt like we were always on the same page emotionally about it. It’s one of those things that’s a huge turn in the movie and it comes at a point when he’s starting to feel good about himself and Elsa. Then he gets the rug pulled out from under him. Musically it was always about being there with him, not being too big or emotional, as a lot of movies tend to do. This was more about being inward and quiet. And I always feel that when you’re quieter and simpler, it’s more emotional. So that was basically the approach.

In terms of far more optimistic music, you wrote the moon landing music for the piece “Advent” which premiered at the Hollywood Bowl concert “America in Space.” What’s the future for that suite?

I’ve been working with NASA over the last couple of years. I did something for their 60th anniversary and then they asked me to do “Advent” for the 50th anniversary of the moon landing. I’m a huge space nut, so it an honor to be able to do that. My hope is that this piece can just go out and play at different orchestras around the country and people can enjoy it and reflect on where we’ve been and how we’ve gotten here.

After two Spidey, are you happy that Peter Parker didn’t separate from the Marvel universe, especially as you’ll be continuing your adventures in it with your second score for Doctor Strange?

I think it’s the films’ best chance at continuing to be as fun and as great as they’ve been is by staying there Marvel with people like Kevin Feige and Eric Carroll who produced the movies, and with John Watts who directed them. So I’m really happy that everyone came to an agreement on that. In terms of the Marvel universe, it’s really interesting where they’re gong to go. There’s so much going on over there between the Disney Plus shows and the movies. It’s going to be hard to tell the difference at some point I’m sure, because I know the stuff that they’re doing for the TV shows are going to be really high quality stuff. And I’m really looking forward to seeing all of that. I do love working with everyone over there. They’re just some of my favorite people in this business, and the Marvel movies are always just a wonderful collaborative environment.

In other, more optimistic worlds, you’ve taken the director’s captain’s chair with the “Star Trek Short Trek: Ephraim and Dot.” What was that experience like?

It’s been great and a lot of fun. I grew up making movies from the time that I was nine years old. I went to film school and movies all through college. Music was something that I sort of fell into. It wasn’t the thing that I thought I’d be doing when I was growing up. I just got to this point where I missed making movies. So a couple of years ago I called Patton Oswalt and I pitched him this idea for this short called “Monster Challenge.” He was like, “Sure, let’s do it!” So I gathered all my friends and made a short together, which I’m actually going to put online soon. It went to festivals and all of that. It was a blast and it reminded me how much I missed making movies.

Later, Alex Kurtzman called me and was like, “Hey, would you be interested in directing one of these shorts? And he had no idea how much of an animation background I had as well. Used to have an animation company. I used to do things for Dreamworks. I produced animation for DIsney Interactive. When I explained that all to him, he said, “Oh my God, we have an animated one if you want it. And he goes, and I think you’re going to like it because of the time period that takes place in. Of course I wanted to do it. It’s been a blast just sort of getting back and balancing my life so that I can do more of the things that I missed. I’m not going to abandon music at all for sure. There are a lot of fun scores ahead for me and a lot of great people I love working with. But I’m going to balance that out with making more of my own things as well. I’m very excited.

Do you think that “Jojo Rabbit” will continue to show Hollywood that you’re equally capable of scoring big franchise movies as you are od doing smaller, more idiosyncratic films like this, “50-50” and “Bad Times at the El Royale?”

Well, I think for me it’s always going to be about “Do I connect to this story, whether it’s big or small?” It can be hard to find really good movies that are small. I’ll definitely do more small ones like “Jojo Rabbit,” but it always has to come from a place of connecting with the film. If I don’t think my music will have something to say, then I generally say “No” to the project.

Is this an especially important film for you to score now with what is going on in America with a new rise in fascism?

Yeah, I do. I do. I think it’s a very important film that every middle school kid should see, and up from there. This is a film that you can apply to everything you see around you today. This is not something that has gone away in time. The idea of intolerance and racism and, and brutality has just gotten worse. I feel that to put pieces of art out in the world that challenges these things and gets people talking about them is probably one of the most important things you can be a part of.

Do you think your ability to write kid-friendly music will pull that audience more into this story?

If we get anyone to ask their parents, Hey, did this really happen?” then we’ve done our job, because what you want out of art is for it to create conversation between people who are for and against whatever you’re saying. That’s fine as long as there’s conversation, because the more there’s conversation, the less there’s violence. And I feel like that as fun as it is to do all the movies that I have worked on, which I love dearly, I feel like it’s more important to find pieces of art like this to be a part of and help get them into the world in a really good way.

“Jojo Rabbit’ is now in theaters, with Michael Giacchino’s score available on Hollywood Records HERE

Listen to Michael Giacchino’s scores HERE

Visit Michael Giacchino’s website HERE

Categorieën: Filmmuziek nieuws

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Soundtrack News - Do, 17/10/2019 - 01:00
Milan Records, an imprint of Sony Music Masterworks, announces the October 18 release of [a.26907]Looking for Alaska (Music from the Hulu Series)[] - available for preorder now. The album includes music from Hulu's newest original limited series, produced by Josh Schwartz and based on John Green's bestselling novel. Set in 2005, the series features music specific to the early 2000s era, carefully curated by Schwartz and music supervisor [c.3859]Alexandra Patsavas[] as a sonic companion to the show's coming-of-age narrative. The nostalgia-inducing repertoire includes much-loved tracks from Bloc Party, The Strokes, José González, Rilo Kiley, Clap Your Hands Say Yeah and Modest Mouse, as well as newly recorded covers of the era's...

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Categorieën: Filmmuziek nieuws
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