Filmmuziek nieuws

NEWS: Hans Zimmer to Be Honored with Max Steiner Award

Soundtrack News - Ma, 23/04/2018 - 02:00
Hollywood in Vienna CEO and Founder Sandra Tomek is proud to announce that Academy Award, Tony Award, 2-time Golden Globe and 3-time Grammy Winner [c.237]Hans Zimmer[] will be honored with the 2018 Max Steiner Award in Vienna during the Annual Hollywood in Vienna Concert Gala. "[c.237]Hans Zimme[]r had a close connection to Vienna for some time now", says Tomek. "With his company, he has been recording projects such as [m.44918]The Crown[], [m.48996]Blue Planet II[] and [m.38408]Inferno[] at the fantastic Synchron Stage Vienna. For a city, so rich in music history as Vienna, it is only fitting to give this award, named after the great [c.208]Max Steiner[] to the exceptional and multi-talented composer Zimmer". The gala...

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NEWS: Weekly Roundup: April 20

Soundtrack News - Za, 21/04/2018 - 02:00
Announced this week were new composer assignments for [c.1465]Lorne Balfe[] ([m.47707]Mission: Impossible - Fallout[]), [c.648]Tyler Bates[] ([m.49265]The Spy Who Dumped Me[]) and [c.1407]Javier Navarrete[] ([m.52327]The Widow[]), among many others. For the full list of composer and music supervisor assignments from this week, [url./composers/]click here[]. Over 45 soundtrack albums were released this week. [da.2018-04-17]Click here for the full schedule[]. Opening in theaters nationwide this week are (with music by): [m.50060]I Feel Pretty[] ([c.809]Michael Andrews[]), [m.49628]Super Troopers 2[] ([c.22087]Eagles of Death Metal[]) and [m.50379]Traffik[] ([c.1271]Geoff Zanelli[]). We are tracking song credits for the following new theatrical releases: -[m.50060]I...

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NEWS: Soundtrack to 'Riverdale' Special Episode 'Carrie The Musical' Released

Soundtrack News - Vr, 20/04/2018 - 02:00
WaterTower Music has announced today's release of the unique full soundtrack to "Carrie The Musical," a [m.46941]Riverdale[] episode featuring all new cast performances, which aired on April 18 (8:00–9:00 p.m. ET/PT) on The CW. Fans who have fallen in love with songs from previous episodes of the show, such as "Mad World," "Milkshake," "Candy Girl," "Kids in America," and "Bittersweet Symphony" will delight in having a full album of new [m.14694]Riverdale[] recordings to add to their playlists and music collections. In addition to today's digital release of the album, a special, limited edition "blood red" vinyl version of the album will be available exclusively at Urban Outfitters on July 13. Based on Lawrence D. Cohen's...

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NEWS: 'Rampage' Soundtrack Released

Soundtrack News - Za, 14/04/2018 - 02:00
WaterTower Music announced today the release of the soundtrack to the action adventure film [m.47758]Rampage[], which features an original score by Canadian composer [c.1265]Andrew Lockington[] ([m.39665]San Andreas[], [m.13225]Journey to the Center of The Earth[], [m.30214]City of Ember[]), as well as Grammy Award winning multi-platinum trailblazer Kid Cudi's end title song "The Rage," which includes a sample of the Smashing Pumpkins classic "Bullet With Butterfly Wings." Rampage will be released digitally and on CD on April 13 - the same date Rampage is in theaters. Lockington's wide-ranging approach to scoring the film included spending time in Gorilla enclosures to study their vocalizations and rhythmic patterns, recording a...

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NEWS: Lakeshore Records Announces 'Paterno' Soundtrack

Soundtrack News - Vr, 13/04/2018 - 02:00
Lakeshore Records will release [a.22969]Paterno - Original HBO Films Soundtrack[] digitally on April 27, 2018. The album features original music by composers [c.3669]Evgueni Galperine[] and [c.3670]Sacha Galperine[] ([m.49414]Loveless[], [m.46198]The Wizard of Lies[]). [m.50981]Paterno[] centers on Penn State's Joe Paterno in the aftermath of the Jerry Sandusky sexual abuse scandal. After becoming the winningest coach in college football history, Paterno's legacy is challenged and he is forced to face questions of institutional failure in regard to the victims. Academy Award and Emmy Award winner Al Pacino stars in the film's title role. Evgueni and Sacha Galperine, who also composed the music for [m.46198]The Wizard of Lies[],...

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Audio: Interview with Andrew Lockington and Brad Peyton

Film Music Magazine News - Vr, 13/04/2018 - 00:36

ON THE SCORE is sponsored by La-La Land Records

When it comes to rock ‘em sock ‘em collaborations, two increasingly fierce talents in the Hollywood effects Thunderdome are Canadian-born composer Andrew Lockington and filmmaker Brad Peyton. A protégé of musician Mychael Danna on such scores as “8MM” and “Felicia’s Journey,” Lockington’s own star rose from such lyrical indie scores as “Saint Ralph” and “Frankie & Alice” to take on a far bigger sound with the likes of “City of Ember” and “Journey to the Center of the Earth.” Starting out with the Claymation series “What it’s Like Being Alone,” Peyton’s talent for family entertainment saw him direct “Cats & Dogs: The Revenge of Kitty Galore.” Far bigger things were ahead for both artists when they first teamed with 2012’s “Journey 2: The Mysterious Island,” which entertainingly modernized the Jules Verne classic as a vehicle for The Rock to ride giant bees on to the tune of Lockington’s symphonically adventurous score. Taking a more twisted turn with the unique exorcism thriller “Incarnate” and its chilling score, the duo next upped their visual, and musical scale as The Rock survived everything the earth could throw at him in “San Andreas.”


Yet even The Big One has nothing on the Rock-plus triumvirate of massive beasts that Peyton and Lockington now unleash with “Rampage.” Easily the most ambitious adaptation of a classic arcade game, this Chicago city-buster gives impressive CGI life to a once eight bit white ape, flying wolf and lethally spiked crocodile. But no matter its scope, “Rampage” would be all sound and fury if not for the fun and emotional heart that Peyton and Lockington bring to the movie. As Peyton makes us root for the albino ape to get his sanity back, Lockington delivers a chest beating score full of symphonic weight. With an accent of Africa, the epically thrilling score truly gets its chance to roar with furious brass and angered themes that also convey a heroic race against time. It’s a “Rampage” that delivers the popcorn goods, as done by two artists who aren’t afraid to let their rousing talents go to town.

Now on new episode of “On the Score,” Andrew Lockington and Brad Peyton reveal an ever-building scale to a partnership that reaches heights with “Rampage.”

Click above to Listen Now or Click Here to Download

Andrew (L) & Brad (R)

Buy the Soundtrack: RAMPAGE Buy the Soundtrack: SAN ANDREAS Buy the Soundtrack: JOURNEY 2: THE MYSTERIOUS ISLAND Buy the Soundtrack: INCARNATE Visit Andrew Lockington’s Website

Categorieën: Filmmuziek nieuws

NEWS: Decca Classics to Release 'On Chesil Beach' Soundtrack

Soundtrack News - Do, 12/04/2018 - 02:00
Decca Classics is releasing the soundtrack to the highly-anticipated new film adaptation of Ian McEwan's book, [m.48762]On Chesil Beach[], featuring music from British composer [c.721]Dan Jones[] and a stand-out performance from violinist Esther Yoo. The album is released on the May 18 to coincide with the film opening in cinemas the same day. Jones' brand new score is performed by the BBC National Orchestra of Wales and young American-Korean violinist Esther Yoo, who has a prominent solo part throughout. Alongside Jones' score are familiar classical pieces by composers including Rachmaninov, Schubert, Elgar and Mozart. Dan Jones says, "It's been a great journey working with one of my favourite directors Dominic Cooke, and long...

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NEWS: Varese Sarabande Announces 'Timeless' Soundtrack

Soundtrack News - Di, 10/04/2018 - 02:00
Varèse Sarabande will release the [a.22805]Timeless – Original Television Soundtrack[] digitally on April 13, and on CD May 4, 2018. The album features original music composed by [c.927]Robert Duncan[] ([m.50248]S.W.A.T.[], [m.33197]Castle[]). Lead actress Abigail Spencer's rendition of "You Made Me Love You" is a special album-only bonus track. "[m.46833]Timeless[] is a composer's dream gig," said Duncan. "One week it's exploring dark and chilling timbres for the Salem witch trials, next it's finding the right melody to express the thrill of humankind's first steps on the moon. What could be better?" From Eric Kripke, Shawn Ryan, John Fox and John Davis comes this thrilling action-adventure series. In season 1, a mysterious...

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NEWS: Weekly Roundup: April 6

Soundtrack News - Za, 07/04/2018 - 02:00
Announced this week were new composer assignments for [c.151]James Newton Howard[] ([m.44890]Fantastic Beasts and Where to Find Them 3[]), [c.13730]West Dylan Thordson[] ([m.49262]Glass[]) and [c.257]Mychael Danna[] ([m.52226]The Red Sea Diving Resort[]), 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.2018-04-03]Click here for the full schedule[]. Opening in theaters nationwide this week are (with music by): [m.48289]Blockers[] ([c.1575]Mateo Messina[]), [m.47505]Chappaquiddick[] ([c.6903]Garth Stevenson[]), [m.49461]The Miracle Season[] ([c.1287]Roque Banos[]) and [m.48963]A Quiet Place[] ([c.14]Marco Beltrami[]). We are tracking...

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NEWS: Lakeshore Records to Release 'Lost in Space' Soundtrack

Soundtrack News - Za, 07/04/2018 - 02:00
Lakeshore Records will release [a.22925]Lost in Space - Netflix Original Series Soundtrack[] digitally April 13, 2018 with a CD release forthcoming. The album features original music by composer [c.630]Christopher Lennertz[]. Produced by Legendary Television, [m.51201]Lost in Space[] is a Netflix Original dramatic and modern reimagining of the classic 1960's science fiction series. Set 30 years in the future, colonization in space is now a reality, and the Robinson family is among those tested and selected to make a new life for themselves in a better world. But when the new colonists find themselves abruptly torn off course en route to their new home they must forge new alliances and work together to survive in a dangerous alien...

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NEWS: Varese Sarabande to Release 'Ghost Stories' Soundtrack

Soundtrack News - Vr, 06/04/2018 - 02:00
Varèse Sarabande will release the [a.22567]Ghost Stories – Original Motion Picture Soundtrack[] digitally and on CD April 13, 2018. The album features original score composed by [c.2438]Frank Ilfman[] ([m.38527]Big Bad Wolves[]). Experience three spine-tingling tales of terror to haunt your dreams. A debunker of all things paranormal, Professor Phillip Goodman (Andy Nyman) has devoted his life to exposing phony psychics and fraudulent supernatural shenanigans on his own television show. His skepticism is put to the test, however, when he receives a file of three chilling, inexplicable cases: a night watchman (Paul Whitehouse) haunted by disturbing visions as he patrols an abandoned asylum; an edgy young man (Black Mirror's Alex...

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Interview with Marco Beltrami

Film Music Magazine News - Wo, 04/04/2018 - 23:55

In a long scoring career that began by musically shrieking for a Kafka-masked killer as his intended victims did their damndest to stay silent, Marco Beltrami has spent quite a bit of time making memorable musical noise in the service of terror. Whether the maniacs he played were vampires, werewolves, goblins or cyborgs, Beltrami’s full-throated style has known how to stalk and rip asunder with no shortness of invention. But perhaps the need to have his often raging soundtracks shut it up for humanity’s sake has never been put to quite as cleverly a sinister twist as “A Quiet Place,” where the composer himself would last about a millisecond if he practiced his craft in the movie’s post-apocalyptic world.

Thankfully, the family of this acclaimed horror film knows better, having seen the rest of humanity shredded by near-invincible creatures from God knows where that attack at the slightest sound. As played by real-life wife and husband Emily Blunt and John Krasinski (who also serves as star, co-writer and co-producer), Evelyn and Lee Abbott lead an extremely tenuous life with their two kids, where every activity is centered around being as quite as a church mouse. But fraying tensions, and the fact that Evelyn has a baby on the way make it a certainty that air waves are going to be rent asunder to horrifying results for all of the sonic home proofing that Lee has put into place.

For a composer, whom along with Buck Sanders, had to hold his breath to Oscar-nominated effect in “The Hurt Locker,” Beltrami shows his effectiveness in tension that you could cut with a razor blade. Pounding heartbeat suspense fills the soundtrack’s unbearable builds, made all the more unbearable with the jump the audience knows is coming. Relentless, stomping terror attacks with waves of grinding electronics, howlingly mutated samples and ferocious brass, the kind of rhythmic rampaging that Beltrami does like no horror-friendly composer’s business. Yet for all of its monstrously powerful orchestrations, what makes “A Quiet Place” especially powerful is a solo piano that conveys what very well might be the last people on earth, unexpectedly lush strings the lyricism of children facing a very bleak future.

Imagine the guttural savagery and poignant solitude of Beltrami’s “Logan” score as taken to new, primal lengths, and you’ll get an idea of his effectiveness at conjuring a world gone mad not only because of constantly prowling beasts, but by the impossible, muted restraint they’ve caused. Powerfully balancing melancholy melody with nerve-splitting dissonant effects, Beltrami’s “Quiet Place” goes from a whisper to a scream with terrific inventiveness, as only a composer seasoned by decades of hiding from, and facing off against evil knows how to – especially as given his most thematically novel twist yet.

You’ve had a rewarding collaboration with actors-turned-writer/directors like Tommy Lee Jones. Would you say it’s more interesting to deal with multi-hyphenates, especially when the stakes are extra-personal to them?

Actor-hyphenates that have a vested interest in the project are extra enthusiastic about their work and about the process. They’re more receptive to originality, and not constrained as much by a lot of the people around them that could surround a normal project. So you have the possibility for coming up with unique, creative musical approaches.

How did you become involved with “A Quiet Place?”

My agent Laura Engel got a call from Randy Spendlove, the president of music at Paramount who mentioned that there was this project shooting in New York. He wanted to know if I’d be able to read the script, and if I liked it, then maybe meet with John where they were shooting. I read the script and was blown away, because I had never read anything like this that really had very little dialogue in it. As soon as I went to the set and saw what they were doing, I thought that had a lot of interesting possibilities musically and that it could be a lot of fun. Coincidentally, I was going to be in New York anyway!

Noise has always attracted monsters on the prowl, but “A Quiet Place” raises that premise up several notches. Given the idea of sound equaling instant death, was there ever the question of wondering why there should be music in the film in the first place –as it would be a “third wall” alert to the killer creatures?

Well, this is always the question in a movie. In Hitchcock’s “Lifeboat,” they’re in the sea. Hitchcock says to Hugo Friedhofer, “Why would there be music? Where’s the orchestra? They’re out in the lifeboat.” Friedhofer’s reply was, “That’s a good question, so where are the cameras?” I think the same thing applies here. It’s a movie. You’re not supposed to necessarily be aware of the music, but it manipulates the audience just like the lighting, or the cinematography, or the acting. It obviously has to be used carefully, and there’s definitely attention to silence and how silence is used. It also has a place for the emotional undercurrent of the movie and the arc of the characters developing that.

Tell us about your collaboration with John Krasinski. And how would you describe his taste in music?

I very much enjoyed working with John, because he, approaches music not from a traditional point of cinematic view, but more from what inspires him on an emotional level. After meeting with him and coming back to LA, he sent me a couple of pieces of music that he liked. One of them was the cover of David Bowie’s “Heroes.” That is what started me thinking in terms of the family theme for “A Quiet Place.”

You’ve done some very effective scores set in the apocalypse. Do you think there’s a mournful loneliness that comes with the territory, especially in “A Quiet Place?”

Well, there’s definitely a mournful loneliness to “A Quiet Place.” I don’t want to give away the movie, but the family has a strong sense of loss that pervades everything that they do. It’s sort of like a non-spoken heartbreak between everybody. So there’s definitely a sense of mournfulness to the score because of that.

Before the finished shots of the monsters came in, what kind of picture did you create in your imagination?

They had diagrams that gave me an idea of what the monsters were going to look like, though I wasn’t aware of their final concept until quite late. They had an important impact for the direction of the music. Actually, some cues that were based on the monster’s initial pictures had to be reworked to capture their final realization from a sound point of view.

How did the film’s rural setting play a part in your score? And would you say that it connected it to your scores in the disturbed western genre like “The Homesman?”

The rural setting is important to the story of the movie, because it’s sort of going back to basics, in many respects, of a time when a family had to provide for themselves with shelter, food, water, and comfort. In that respect, the score has a very traditional aspect to it. I wasn’t actively trying to emulate my “Homesman” score, though there’s a scene with them all having dinner together that may have a little bit of that Americana feel to it.

You’ve often used interesting techniques to capture musical sound design. How did you collect samples for “A Quiet Place?”

In a few ways. I had a session early on where string players came to my studio, and we recorded them just doing gestured type things that we could later manipulate electronically, and have an acoustical source for. I wanted all the electronic elements to be derived from an acoustical source. All the stuff that you hear in the monster suite is derived from acoustical sources. Then I took a piano and detuned all the black notes by a quarter-step and used that for the theme, so, something’s slightly off about its sound. We just had to be careful and use it sparingly, because a little bit of that goes a long way.

In that respect, would you say you’re one of the more “environmental” composers out there?

I’m very aware of the sound world that we’re working in and how the music and sound are going to work together. So in that sense, I’m definitely aware of the environment that we’re working in. I also find it fun to discover sources that are relevant to a film’s score, but that are slightly unique.

Given that people have to express emotion internally under pain of death, did that place even more importance on the score? And how do you think it reflects the family dynamic of people buckling under the father’s authority?

I think the fact that the actors are able to convey all of the emotional things that they do without dialogue is a testament to their acting ability. The music is supportive in some of these areas, especially when there is a subtext or something that needs to be reinforced or commented on. There are also plenty of emotional scenes in the movie that have no score.

Tell us about the use of percussion in “A Quiet Place.”

There’s a drum that we took and manipulated electronically that became the source of the rhythmic pulse. There’s a little bit of other percussion in some of the more active scenes later on in the movie especially, but I wouldn’t say this is a percussion-heavy score.

With many horror scores just turning to plain old dissonance, how important has it been to keep a sense of melody for your genre efforts?

Well, the emotional parts of the score are definitely melodic, and there’s a melodic theme. For the alien component of this movie, it’s more motivic than it is melodic.

How did you want to spot, and orchestrate the score in terms of figuring out the right moments for the music would be at its most sparse, or employ fuller strings?

The spotting of the music changed as the film was edited, as it was in a constant state of evolution and flux. Scenes that originally may have had music may not have had music later, and vice versa. Scenes that originally might have been silent would end up with music. One of the things that I find interesting working about working with actor/directors is that there’s a constant search for perfection and originality, especially with John. He was never content to rest on “this is good enough.” He wanted to strive for perfection as best he could in all aspects of the moviemaking process. It’s demanding but rewarding at the same time.

You scored “Mathilde,” a romance about Czar Nicholas that caused quite a stir in Russia. Could you talk about the challenges of working on an envelope-pushing Soviet production, and your work for it?

That was an amazing, unique experience working and recording in Russia with probably one of the most famous conductors in the world on a post-production schedule that took about a year. Since our director Aleksey Uchitel didn’t speak English, we communicated through music and through picture. It was one of the best, most unique scoring experience that I’ve had.

Having made your bones with horror films, how do you think movies like “A Quiet Place” push the genre, and the role and sound of music in it? And in that way, do you think you’ve become more of an experimental composer in that realm than how you started out in it?

The “Scream” movies, which were among my first ventures into horror genre, were a much different type of film, much more over the top and strictly orchestral. I came from a place of working only with orchestra. Electronics is something new, and I didn’t really pursue them until later as we went along with Buck Sanders as my partner. Little by little, the search for unique instrumental timbre has shifted from just being possible to do with the orchestra to now being able to do with musical technology. It’s allowed us to be able to really get some amazing things from all sorts of sounds including these environmental sources that you mentioned. I guess, in that sense I have evolved my approach. But at heart, I still think it’s the same visceral response to picture that guides what I try to achieve musically, even if the method is a little different.

As a composer, is it important to find moments of complete silence in your life – though for your sanity as opposed to avoiding creatures?

Yes, of course. I’m haunted by noise in my head, and it’s important for me to learn to find ways to dampen it down to a minimal volume as best I can.

“A Quiet Place” tiptoes into theaters on April 6th, with Marco Beltrami’s score available digitally on April 6th from Milan Records, and then on CD on May 11th HERE. Then listen to Beltrami romance the Russian royals with “Mathilde” HERE

Visit Marco Beltrami’s website HERE

Categorieën: Filmmuziek nieuws

Interview with Garth Stevenson

Film Music Magazine News - Wo, 04/04/2018 - 02:03

The ghosts of the past, and a future tragically cut off are very much alive with eerie, sad beauty and infuriating political relevance in “Chappaquiddick.” Digging up a past the Kennedy family wish would stay buried in the waters off their oceanside sanctums, director John Curran revisits a series of bad decisions made by their remaining golden boy Ted (Jason Clarke), the president-to-be who ends up driving campaign worker Mary Jo Kopechne (Kate Mara) off a small, island bridge, leaving her to die horribly while he wanders off to get his head together on the best way to make his political aspirations survive. The ensuing cover up is a powerful lesson on how the well-appointed and beyond-rich can get away with just about everything while preserving their all-important image.

Painting a musical picture that’s intimate while reaching from the nation to the moon itself is Garth Stevenson. Having made his film scoring debut for Curran with the psychologically expansive Aussie outback journey of a woman and her camel in “Tracks,” Stevenson has continued his own, alternative-oriented soundtrack voyage with characters trying to find their place in the world in “Red Knot,” 10,000 Saints” and “Tater Tot & Patton.” Given the real-life players of “Chappaquiddick” that do their best to keep a crime quiet as their own morality sinks into a quagmire, Stevenson takes a haunting, introspective and thematic approach to a conspiracy that plays itself out against the backdrop of a man submerged by family expectations and a nation waiting for one giant leap for mankind.

Capturing the kind of poignant piano and orchestral presence of such modern classical composers as Arvo Part, Stevenson weaves together slow, echoing themes that convey the movement of water, a drifting lack of conscience and star-filled wonder. Organ and voice become the presence of a woman’s life cut short, tense strings the rage of a stroke-silenced patriarch and determined rhythm a conspiracy of silence trying desperately to save a president-to-be even as he fumbles their plans. It’s an emotionally affecting, spectral presence of a score that likely will build many viewers’ sense of betrayal while bringing to the surface the darkest chapter in a Camelot’s legacy cut short. Yet, the one secret that this “Chappaquiddick” will not hold is the melancholy, mesmerizing ability of a truly interesting composer on the independent scene, a musician gifted here with a strikingly lyrical sense of observation to an American tragedy.

Tell us about your interest in music, and what led you to scoring?

II started playing piano at a young age then switched to double bass in high school because our jazz band needed a bass player. I think it’s safe to say many bassists got their start this way, simply because there was no one to play bass. I fell in love with the instrument and a few years later I was leaving Western Canada for Berklee College of Music in Boston. Partway through my first year at Berklee I developed severe tendonitis from over playing, usually in the eight hours a day range. I was devastated and switched my degree from performance to composition. In hindsight the tendonitis was a gift. I dove deeply into studying composition and when I finally recovered, I had the path of both a bassist and composer to follow.

While in Boston I began working with an older generation of master improvisers including drummers Nat Mugavero, Bob Moses, and Bob Gullotti, saxophonist George Garzone, guitarist David Tronzo, trombonist Hal Crook, and my bass mentor John Lockwood. Most of the concerts and sessions I played with these musicians were completely improvised. There was an expectation that any music you had been working on or practicing at home would be left at the door and all that you could rely on was deep listening, sensitivity and trust with your fellow musicians, and allowing the music to unfold naturally. As a composer, many interesting concepts came from these group improvisations like having multiple tempos happening simultaneously, having themes or fragments of themes being passed around the ensemble, how to swing when there’s no tempo, the balance of density and sparseness. These are all concepts I work into my scores now.

In 2005 I moved to New York and continued working in the improvised music scene and formed a trio based in Poland with pianist Marcin Masecki and drummer Ziv Ravitz called TAQ. Our concerts were a mix of completely improvised pieces and improvisations based off of themes we had composed. It was in this ensemble I started using effects and looping pedals on my double bass. Back in New York I started performing solo bass concerts with live looping which ultimately led me to start recording my own solo albums. When I released my second album, “Flying” in 2010 the recurring feedback I received was “This music would be perfect for film.”

Your first major soundtrack was for John Curran’s “Tracks.” How did you meet? And what was the challenge of playing an introverted woman’s crossing of Australia by camel, from writing the score to the songs?

One day I received a phone call from someone with an Australian accent who asked to speak with Garth Stevenson’s agent. I answered, “You’re talking to him!” (That was just before I signed on with my amazing agent Sarah Kovacs at Kraft-Engel). The next day I spoke with John on the phone. He told me how the week prior he was driving with his editor, Alexandre De Franceschi, who had my CD of “Flying” playing in his car. They had been struggling to find the right sound for the temp score and when John heard the track “Dawn,” they threw it against picture that day and it worked well. He asked if I was interested in scoring the entire film and I of course agreed. At that time I only had one documentary and one feature under my belt so I was very appreciative of John taking a chance on me for such a major film.

In “Tracks,” I really wanted to find a unique and appropriate sound for the desert. It needed to be harsh, full of beauty, mystery and have a sense of timelessness. I found it easy to relate to the character of Robyn because, although on a much smaller scale, I have spent a lot of time alone in nature doing short, solo camping trips. I understand the need to be alone in nature and how self reliant you have to be if there is no one around to help.

What were your perceptions of the Chappaquiddick incident, and Ted Kennedy before you started the film? And once you got it, did you do your own research into it?

The first time I really started researching the Chappaquiddick incident was when I performed at the Chappaquiddick Summer Music Festival in 2005 with a jazz quartet featuring George Garzone, Ayn Inserto and Richie Barshay. We stayed on Chappaquiddick for four days, digging for clams, rehearsing, and jogging over the famous bridge. We were invited back in 2007 and I continued to explore the island. I loved staying on Chappaquiddick because it was incredibly beautiful and was much quieter than Martha’s Vineyard. When John contacted me to work on the film I dug deeper into Ted’s career and the incident.

How did you lay the thematic groundwork for “Chappaquiddick?”

Structurally, John already had a strong sense of what scenes should be connected thematically. The opening scene of the film has a piano melody that introduces two of the main themes we developed throughout the score.

Given a sense of betrayal that’s sweeping America, would you say that your own reactions to the current political climate played into the score?

No. My job was to help tell the story that Taylor Allen and Andrew Logan wrote and John directed. Bringing my own political views or drawing comparisons to the current political climate would have been a disservice to the film.

What did John want this score to achieve? And was your collaboration different on this film? Or given the kind of atypical films he’s made, do you think he’s naturally more open to composer experimentation?

John was looking for the balance or coexistence of darkness and lightness in the score. To hear the devils and angels overlapping within cues. Ted is haunted and tormented by Mary Jo, the bridge, his complex relationship with his father and the weight of being the only surviving Kennedy son who everybody expects to run for president. The score had to support this feeling. The score also had to support the farce that unfolds in the middle of the film.

I truly love collaborating with John. He has incredible ears and hears detail in the same way a seasoned musician does. This allows us to go deeper and communicate on a high level. Our creative process is all in. We are on the phone at all hours of the day and night bouncing ideas off each other.

Garth Stevenson and John Curran at the LA premiere of Chappaquiddick. March 28, 2018

Yes, John encourages experimentation and taking chances. The last thing he wanted from this score was for it to sound formulaic or generic. Sonically he wanted the score to have hints of the 60s. I have a good collection of old Hammond organs that we used throughout the score. The organ was also featured in some of the needle drops so it tied the source and score together nicely. I also did a lot of re-amping of the percussion, piano and voice through old guitar amps with spring reverb and tremolo. A few years ago I found wooden organ pipes on craigslist that somebody was selling as lumber. They were over one hundred years old from a church in Framingham, MA and it felt sacrilegious that they were being cut up for home repair projects. After watching the scene of Mary Jo’s funeral in the church with pipe organ I knew I had to finally use my pipes. I didn’t have a blower for the pipes and my lungs only had enough capacity to hold a note for half a second so I ended up using a fully inflated exercise ball for the air reservoir. My studio is in Western Massachusetts and I tap my own maple trees every winter. It just so happens that a standard tap fits perfectly into an exercise ball and the hoses that run from tree to tree fit perfectly into the pipe. The resulting sound was a haunting, pitched wind tone that was mixed subtly into the score.

How do you think the oppressiveness of the Kennedy expectations that are smothering Ted come across in the score – especially in relation to his father?

In the film, Ted felt like he was never good enough for his father. Like he was a failure in comparison to his brothers. Even though Joe was hard on him Ted still loved him and looked to him for advice and guidance. I think the scene when Joe slaps Ted and tells him “You will never be great.” is one of the most emotional moments in the film. The score plays the darkness and heaviness of Joe’s character while also allowing room for emotional melodies to play Ted.

Mary Jo Kopechne has been almost an “incidental” person who was submerged once again in the cover-up. How did you want to give dimension to her character, and aspirations that are cut short? Or do you think the loss of the film is as much about her as it is of what Kennedy could have achieved if this didn’t forever taint his chance of becoming president?

When Mary Jo is drowning, the score again aims to allow the dark and light to unfold simultaneously. Her emotional theme is played on high violins that are in counterpoint to a repetitive low bass line of double bass, brass and Hammond organ that feels like a powerful low foghorn. Her theme as she drowns should feel like the final breath of a beautiful, innocent, intelligent and angelic character. With the exception of a flashback later on in the film, Mary Jo’s character does not return to the picture. In the score however, Mary Jo drowning is just the beginning of her character. She returns musically in the form of female voice, sung by Annie Lynch, as one of the main characters of the score. This ghostly voice haunts Ted throughout the film. We hear it on the aerial shot after the diver recovers her body through Ted being in a removed mental state at the restaurant. It appears when Joey and Paul are trying to rescue Mary Jo from the car and Ted is lying on the bridge repeating, “She is already dead.” It also returns faintly on the shot of her picture in the Kopechne’s living room and the scene with the hearse. Another important use of her ghostly voice theme is on the night shots of the bridge and even in the opening credits as Ted drives over the bridge. We wanted to drive home the haunted quality of the bridge and how that bridge hung over Ted for the rest of his life.

How did you want to musically evoke the feeling of water?

Production wise, I used heavy reverbs, delays and parts played in reverse or slowed down to accent the feeling of being underwater, especially when Joey and Paul are trying to get Mary Jo out of the car. The other water related moment is in the opening title sequence when Ted is on the ferry. I matched the tempo of the paddlewheel of the ferry and incorporated it into the percussion track for the rest of the cue.

The Kennedy team is also hoping that the moon landing will draw attention away from Mary Jo’s death. Did that extra-terrestrial element play into the score?

Absolutely. The Apollo mission played into the sound of the score, especially the mix. I recorded a bunch of static and glitchy sounds on the organ.

There’s a haunted sense of the past that your samples evoke. How did you achieve this quality?

Ben Gerstein and Garth Stevenson playing at Harriman State Park (Photo by Ben Gerstein)

I don’t use samples in my scores. Every sound is recorded from scratch. The haunting quality comes from production. Some of the female voice parts for example were played in reverse. Any imperfections in the vocal performance like dips in intonation were magnified and looped instead of being edited out. Experimenting with reverbs, delays and re-amping all played into the ghostly sound.

Could you talk about the score’s other instrumentation, which also makes effective, unexpected use of the organ and voice?

“Chappaquiddick’s” organ pipes. (Photo by Garth Stevenson).

I’ve talked a decent amount about the voice and organ so I would like to draw attention to the brass. The brass parts were played by my long time collaborators Ben Gerstein, trombone and Dan Brantigan on trumpet. Both Dan and Ben are master musicians who in my opinion have completely transcended their instruments and have created unique voices. Ben doesn’t sound like trombone. He sounds like Ben. To create a foghorn sound I had Ben play extremely quietly right against the ribbon microphone. My only instructions were to try to make the sound 10% tone and 90% air or wind. Any brass player could tell you that playing as quietly as possible in tune is challenging. For the written statement and night bridge scenes I recorded pump organ. I played and recorded it in a way that captured equal amounts of breath sound from the bellows as tone. My instructions for Dan were: I want you to play in unison with the pump organ part but you have to get it in the first take and you’re not allowed to see the sheet music…and make sure your trumpet doesn’t sound like a trumpet. The result was not a true unison but more of a shadow unison chasing the organ part, which I was after. This is the advantage of working with someone I’ve been playing and recording music with for fifteen years.

Once Ted and his enablers hatch upon the idea of getting rid of the story as quickly as possible, how did you want to convey their machinations?

Part of what John was looking for in the cover up theme was a sense of humor. The dream teams of lawyers were constantly having to absorb mistakes Ted made into their story. Like when Ted decided to wear a neck brace to the funeral but was caught twisting his neck to see who was sitting behind him or when they told the Times reporter that the doctor treated his concussion with sedatives, which they later discovered could kill someone with a concussion. I think the hints of jazz in the organ part bring out the humor while the ticking percussion portrays the well-oiled legal machine.

Where other composers might have taken the score in more of an orchestrally direct approach, why did you take “Chappaquiddick” in a more of an alternative, existential one?

This is what John was looking for. He tried some orchestral music in the temp score and it was glossing over Ted’s character instead of getting deep inside him.

It’s a shame that this movie couldn’t have been made while Ted Kennedy was alive. If he were, what do you think he’d make of it? And If you had been able to meet him, what would you ask him?

If I had had the chance to meet Ted I would not have asked him about Chappaquiddick because surely he would have been done talking about it by then. I would have asked him about his encounters with my wife’s grandfather who was a lawyer on the Cape that helped JFK with his campaign. He was invited and attended JFK’s inauguration and apparently knew Ted personally. There were a bunch of strange coincidences about this film like Annie’s grandfather, or the fact that I got in a small car accident on my way to play music on “Chappaquiddick” with the same drummer that recorded on the score, or that Lexie Roth who played one of the boiler room girls, was at our wedding on Edgartown pond, or that we signed our marriage certificate in the same room that Ted signed his written statement in the film, or that Olivia Thirlby whom I spent a month in Antarctica with, was also in the cast.

What’s coming up for you? And do you see yourself continuing on a path of offbeat scoring for character-oriented movies?

After “Chappaquiddick,” I scored a feature called “The Grizzlies” that takes place in Kugluktuk in Northern Canada. It was directed by Miranda de Pencier and I got to work with an amazing Inuit artist named Tanya Tagaq who I was familiar with from her work with Bjork. Now I’m working on a film called “Them That Follow,” which is a love story set in the south in a snake-handling religious community. It’s directed by Brittany Poulton and Daniel Savage. Once that score is complete I’m headed to Europe for a short solo bass tour. I’m also open to scoring any genre of film. I worked on the pilot of a sci fi thriller directed by Alan Taylor a few years ago and would be interested in further exploring that direction.

“Chappaquiddick” opens in theaters on April 6th, with Garth Stevenson’s score released on Varese Sarabande Records HERE. Then take a musical voyage via camel through Australia’s outback in Garth’s score for “Tracks” HERE

Visit Garth Stevenson’s website HERE

Categorieën: Filmmuziek nieuws

NEWS: Weekly Roundup: March 30

Soundtrack News - Za, 31/03/2018 - 02:00
Announced this week were new composer assignments for [c.201]Alan Silvestri[] ([m.49267]The Women of Marwen[]), [c.2269]Ludwig Goransson[] ([m.48866]Venom[]) and [c.1480]Henry Jackman[] ([m.45902]The Predator[]), among many others. For the full list of composer and music supervisor assignments from this week, [url./composers/]click here[]. Over 30 soundtrack albums were released this week. [da.2018-03-27]Click here for the full schedule[]. Opening in theaters nationwide this week are (with music by): [m.49856]Acrimony[] ([c.630]Christopher Lennertz[]), [m.48800]God's Not Dead: A Light in Darkness[] ([c.7155]Pancho Burgos-Goizueta[]) and [m.44373]Ready Player One[] ([c.201]Alan Silvestri[]). We are tracking song credits for the following new theatrical...

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Categorieën: Filmmuziek nieuws

NEWS: Varese Sarabande to Release 'Chappaquiddick' Soundtrack

Soundtrack News - Wo, 28/03/2018 - 02:00
Varèse Sarabande will release the [a.21866]Chappaquiddick – Original Motion Picture Soundtrack[] digitally and on CD April 6, 2018. The album features original score composed by [c.6903]Garth Stevenson[] ([m.38857]Tracks[]). [m.47505]Chappaquiddick[] is the untold true story surrounding the scandal & mysterious events of Mary Jo Kopechne drowning as Senator Ted Kennedy drove his car off the infamous bridge. Starring Jason Clarke as Senator Ted Kennedy & Kate Mara as Mary Jo Kopechne. Composer [c.6903]Garth Stevenson[] has spent a lot of time in Massachusetts and understands how this episode has colored local history. "John [Curran, director] was looking for a balance or coexistence of darkness and lightness in the score. To hear...

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Categorieën: Filmmuziek nieuws

NEWS: Dubois Records Announces 'Call the Midwife' Soundtrack

Soundtrack News - Di, 27/03/2018 - 02:00
Dubois Records has released the highly anticipated [a.22850]Call the Midwife – Original soundtrack album[] digitally on March 26th and on CD in May 2018. The soundtrack features the original score of the BBC One/PBS TV series by Emmy-nominated and IFMCA award-winning composer [c.8958]Maurizio Malagnini[]. The BAFTA-winning series is the most watched drama in the U.K., averaging more than 10 million viewers each week. [m.36392]Call the Midwife[], has returned to PBS in the USA on Sunday, March 25th, 2018 with its 7th season. This will be the first ever released [m.36392]Call the Midwife[] soundtrack album entirely dedicated to the composed music in the seven-season run of this acclaimed BBC One/PBS TV series made by Neal Street...

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Categorieën: Filmmuziek nieuws

Interview with Laurent Perez del Mar

Film Music Magazine News - Wo, 21/03/2018 - 03:13

Conjuring a siren call that transports the listener to some fantastical place capable of magic and heartbreak, France’s Laurent Perez del Mar’s ability to enchant is impressively proving itself as a window into a character’s surreal headspace. It’s a place of lush melodies, ethereal atmospheres and hauntingly beautiful voices where both reptiles and giants break into their world. But behind their exotic embodiments lay something far more god-like, or devastatingly personal as a character’s view of reality might have it.

Creating nearly the only sound heard over the silence of one man’s island in the Oscar-nominated animated masterpiece “The Red Turtle,” del Mar now crosses the ocean to his first English language film with “I Kill Giants.” Here Danish director Anders Walter (a co-Oscar winner for his short “Helium”) adapts the graphic novel by Joe Kelly and Jen Niimura, their story centering on the bunny eared, weapon-swinging Barbara (Madison Wolfe). Though she might be scorned in school, and resist the friendship of all who try to get close to her, Barbara is determined to save her seaside town, and earth itself from the rampaging giants crashing from the ocean and into the woods – where she’s placed any number of ingenious booby traps and talismans to stop them.

Del Mar’s score just might be the best friend that this young monster slayer might have. His score sings with moving sympathy and towering danger as his emotional themes sweep into Barbara’s perilously determined existence of taking on creatures and even worse bullies – the biggest, and worst of them given a toweringly fearsome orchestral presence. Del Mar’s score is the clash of this sorcerous, mythical music with the gorgeous tenderness of a child facing what she can’t comprehend. Building upon the soundscape of “The Red Turtle,” del Mar has now conjured a score that’s lyrical as an emo film and as big as a blockbuster fantasy when need be. The captivating approach of “I Kill Giants” soundtrack once again marks him as a scoring force to reckon with for films caught between reality and fantasy, in much the same way as a raging, poignant girl coming to grips with the big difference between both worlds, as well as childish things and the frightening specter of growing up fast.

Tell us about your musical beginnings, and how you found your way into composing?

I started music at the age of five. My parents put me in conservatory because they found that I was very sensitive to music. Where some parents would put their children in front of an iPad today if they had too much energy, my father would put headphones on my ears as soon as I was two, and I could stay still for two hours without moving. I listened to hours and hours of classical music in the way. When I was eight years old, we went to see “E.T” at the movies and I had my first love of score music, then a year later, with “Return of the Jedi.” I told my dad that I wanted to write music for movies at that time.

Do you think melody and lyricism are something that’s innate for the musical language of French composers?

I think that there is a French way of writing music that is delicate, well thought, and I think that the French culture with its fineness and its romanticism guides us naturally towards that. However, a lot of French composers score with textures, without obvious or unforgettable themes.

You caught many people’s attention with your beautiful score for “The Red Turtle.” Can you talk about scoring a nearly silent film, especially given the kind of mystical sound that would later play into “I Kill Giants?”

It is a dream for a composer to have the opportunity to write the music of this kind of film. It is silent but it has such an emotional and existential power. In this context, music can really have its own voice, its narrative role, be sometimes clearly listened to, and other times more discreet and be rather evocative. I had the impression of being able to decide of the feelings’ intensity that Michael and I wanted to share with the audience. And what excited me the most is that this film is universal, it’s a masterpiece. So when you’re offered to be part of this kind of project that will stay in the memories, you can only rejoice.

“I Kill Giants” is your first score for an English language Hollywood film. How did you become involved with it, and what did the director Anders Walter want the score to accomplish?

Anders heard about me from one of the producers, and then he saw “The Red Turtle.” He loved the music and put it all over “I Kill Giants,” as well as music I’d written for other films. Then my American agent told me about the project in February of 2017. I went to Los Angeles for the Oscars, where I was approached for “I Kill Giants.” As soon as I got back to Paris, I wrote what I thought was the theme of the film and everyone liked it so much that I was not allowed to change it anymore – not even a single note! Anders wanted this score to bring emotion to the film, to make us feel empathy for Barbara, to project us into her own world, and to infuse a little bit of mystery too. I also wrote a theme a little “psycho”, to suggest by small touches to the viewer that it is perhaps not quite reality, without revealing anything.

Were there any fantasy scores that proved inspirational to you here?

No, not really, we talked about John Williams, but since it was my scores that were temp tracked on the film, Anders did not go through other references.

Tell us about your main themes in the score.

There are mainly three themes in the film. The main one is Barbara’s theme, Barbara’s psycho theme, and the giants theme. The main theme is simple, childish and very emotional, with a mix of analog textures. It is always on the verge of strangeness and mystery. It’s a thin line. Barbara’s “psycho” theme features an arrangement of instruments such as marimba, prepared piano and cimbalom, that create a “quirky” character. It was a request from Anders to bring the necessary insanity in order for the public to understand that Barbara’s psychic functioning may not be totally normal. This is the theme we hear on the first part of the soundtrack with “I Have To Go.” The theme of the giants includes an octobass mixed with analogical textures in its arrangement that pitches towards the very grave, which all together add to the monstrous side of these characters.

Could you talk about the more monstrous aspect of scoring the giants?

I wanted to make the monstrous side vibrate in the music, especially when Barbara seems brave. But deep inside her, these giants petrify her, and the music should help that feeling that in the moments in which she seems extremely determined and controlling the situation. There is always this quest to feel with music (even physically with infra low) to make us hear what we don’t see in the images.

Barbara is a character who purposefully pushes people away, while trying to protect them from giants at the same time. What’s the difficulty in making her character sympathetic, especially given the chance that she’s a mentally ill girl whose booby traps might cause someone to come to harm?

For me Barbara is not mentally ill. This is circumstantial, given the situation she goes through. Everyone in her shoes would somatise things, each one in a different way, and she expresses it in this way of fighting giants. So I tried to portray as much empathy as possible through music for this little girl in distress, writing a very sensitive theme in restraint.

Was it important for the score to keep the audience guessing if Barbara’s visions of giants are real or not?

Yes very, it was one of my priorities. That’s why we decided to play the card of fear when it was necessary to introduce doubt regarding the peculiarity of Barbara’s psychology, which is shown with tiny touches so as not to reveal everything.

If you have children, does being a father affect how you scored the film, especially being privy to their “world?”

I have three children, and it turns out that my oldest daughter (then 9 years old) was going through a very difficult time when I wrote the music for the film. She was very isolated in her school and was experiencing some form of harassment. Everything is settled today, but this situation made me upset and it nourished me deeply and intimately when writing the music, especially for the main theme. I told Anders right away, after watching the movie about how it really shook me because of that.

Did you want to musically separate the real world from the fantasy one?

No, because I choose Barbara’s point of view and she does not make the difference. The only situation for which I am more grounded in reality is for her sister Karen’s theme.

Like “The Red Turtle,” you have a particularly haunting female voice in this score. What do you think gives this approach so much power?

I use the human voice as an instrument in an abstract way, and I do it when the situations are beyond us, when we touch something almost mystical. In “The Red Turtle,” I use it at a time when life is created, during the love scene allegory between the two protagonists. In “I Kill Giants,” it’s a moment when we think that life will be taken from Barbara. I think that the power of these two sequences result from the synergy between what is happening and the music with the use of the voice.

Another connection with “I Kill Giants” and “The Red Turtle” is that both characters live by the sea. How did the power of water, and what lies within it, translate to your score?

I did a search for analog textures that evoked the aquatic environment, and I mixed systematically with the strings of orchestra. The strings and textures always play the same score and that makes us feel constantly that we are never far from the water, without thinking about it.

Given the often-raging emotions in “I Kill Giants,” was it important for the score to not become too intense?

Yes, that’s why I try to maintain a form of permanent and growing restraint in the music of the film. I always avoid crossing the red line of cheesy, given the increasing emotions throughout the narrative.

In addition to your use of the orchestra, there are also interesting electronic elements to the score. Was it important to make “I Kill Giants” a hybrid soundtrack for a character caught between ancient myth and a contemporary youthful world?

Yes that’s exactly it. I looked for a form of modernity and a form of timelessness. The mix of textures and symphonic orchestra, in this way, made me feel like I was getting both at the same time. That’s also why I talked about London Grammar to Anders for one of the two songs in the movie. They are able to anchor both in modernity, and I think that their songs will not grow old.

In the end, would you describe “I Kill Giants” as a fairy tale score?

From the way it went with Anders, the producers, the post-production team, yes it was really a fairy tale. It was a very kind set, with a lot of enthusiasm. I loved to work with this team. Regarding the music itself, I do not know what we can call “fairy tale music,” I would say that it is a music of a giants’ tale …

Do you hope that “I Kill Giants” puts you on a further path to score fantastical films? And do you think the genre offers a composer more opportunities?

Yes I hope. It’s a kind of movie where you can express very different things, and often with a lot of intensity. It was an extraordinary experience for me and I had been hoping for a long time to have this kind of opportunity, I hope to have other opportunities very soon.

“I Kill Giants” opens in theatres and on VOD March 23rd. Watch it HERE

Listen to Laurent Perez del Mar’s score for “I Kill Giants,” available on Varese Sarabande Records March 30th HERE. Then take a swim to visit “The Red Turtle’s” enchanted island on Quartet Records HERE

Visit Laurent Perez del Mar’s website HERE

Categorieën: Filmmuziek nieuws

NEWS: Varese Sarabande to Release 'The Strangers: Prey at Night' Soundtrack

Soundtrack News - Do, 08/03/2018 - 02:00
Varèse Sarabande will release [a.22441]The Strangers: Prey at Night – Original Motion Picture Soundtrack[] digitally on March 23 and on CD April 13, 2018. The album features original music composed by [c.784]Adrian Johnston[] ([m.29615]Becoming Jane[], [m.30130]Bridesheads Revisited[]). [m.45243]The Strangers: Prey at Night[] is a reboot of Bryan Bertino's 2008 cult classic [m.29901]The Strangers[]. The movie stars Christina Hendricks, Martin Henderson and Bailee Madison. A road trip to visit relatives takes a dangerous turn when a family arrives at a secluded mobile home park that's mysteriously deserted -- until three masked psychopaths show up. "I had an idea that once we reach Gatlin Lake, just as the strangers are tuning...

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Categorieën: Filmmuziek nieuws

NEWS: Lakeshore Records & Invada Records Announce 'You Were Never Really Here' Soundtrack

Soundtrack News - Wo, 07/03/2018 - 02:00
Lakeshore Records and Invada Records will co-release [a.22650]You Were Never Really Here--Original Motion Picture Soundtrack[], featuring a score by Academy Award-nominated composer [c.1579]Jonny Greenwood[] ([m.48468]Phantom Thread[], [m.29944]There Will Be Blood[]). The Amazon Studios film was written and directed by Lynne Ramsay, and won awards at the Cannes Film Festival for Best Screenplay and Best Actor (Joaquin Phoenix). It's the second time the Radiohead guitarist/keyboardist has collaborated with Ramsay having composed the score for [m.31623]We Need To Talk About Kevin[]. Greenwood weaves his talents on synthesizers, drum machines, recorders and guitars alongside the London Contemporary Orchestra and experimental string player...

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Categorieën: Filmmuziek nieuws

NEWS: Alexandre Desplat, Kristen Anderson-Lopez & Robert Lopez Honored at 90th Academy Awards

Soundtrack News - Ma, 05/03/2018 - 02:00
The Academy of Motion Picture Arts and Sciences announced the winners of [t.51555]The 90th Academy Awards[] tonight. The nominees and winners in the music categories are as follows:

Best Original Score
[m.45378]Dunkirk[], [c.237]Hans Zimmer[]
[m.48468]Phantom Thread[], [c.1579]Jonny Greenwood[]
Winner: [m.48148]The Shape of Water[], [c.752]Alexandre Desplat[]
[m.38438]Star Wars: The Last Jedi[], [c.231]John Williams[]
[m.47619]Three Billboards Outside Ebbing, Missouri[], [c.24]Carter Burwell[]

Best Original Song
"Mighty River" from [m.49883]Mudbound[], Music and Lyric by Mary J. Blige, [c.6577]Raphael Saadiq[] and Taura Stinson
"Mystery of Love" from [m.48798]Call Me By Your Name[], Music and Lyric by [c.1707]Sufjan...

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Categorieën: Filmmuziek nieuws
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