Filmmuziek nieuws

NEWS: Varese Sarabande Announces '24 Hours to Live' Soundtrack

Soundtrack News - Do, 21/12/2017 - 01:00
Varèse Sarabande will release the [a.21865]24 Hours to Live – Original Motion Picture Soundtrack[] digitally on December 29, 2017 and on CD January 19, 2018. The album features original music composed by [c.648]Tyler Bates[] ([m.34687]Guardians of the Galaxy[], [m.41561]John Wick[]). Marilyn Manson's "God's Going to Cut You Down," is a traditional hymn previously popularized by Johnny Cash and Odetta, is a special album-only bonus track. Bates is currently a member of Marilyn Manson's touring band and produced Manson's last two albums. "Manson and I were putting the finishing touches to his album 'Heaven Upside Down', when the director Brian Smrz asked me if we would possibly cover the song ["God's Going to Cut You Down"] for the...

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Categorieën: Filmmuziek nieuws

Inteview with Daniel Pemberton

Film Music Magazine News - Wo, 20/12/2017 - 15:27

Money, as they say, might be the root of all evil. But for composer Daniel Pemberton, it’s one big Christmas stocking full of musical gold with the twin debuts that day of “All the Money in the World” and “Molly’s Game.” At first glance, the two movies, and scores couldn’t be more disparate other than their links to real life. One is the story of a billionaire John Paul Getty’s Scrooge-like behavior when it comes to paying his grandson’s kidnappers. It’s an appalling act now paling in notoriety to original Getty senior actor Kevin Spacey being replaced at the last minute by Christopher Plummer due to sordid behavior. In contract, the heroine of “Molly’s Game” uses the avarice of men, and the US government in particular to win against the odds with her celebrity-filled poker games. Combine both stories, and it’s cash being used for evil, good and the gray areas in between, providing a rich playing ground for Pemberton.

With the Golden Globes taking a nominated shine to the composer with his work on “Gold” and “Steve Jobs” (two more films about money buying visionaries anything but happiness), Pemberton’s wealth of stylistic scores has impressed from the crazed spy antics of “The Man From U.N.C.L.E,” to the classically chilling “The Awakening” and this year’s distinctly un-knightly music for “King Arthur” and the ticking suspense of “Mark Felt” bringing down the Nixon administration. First given a big Hollywood spotlight by director Ridley Scott for the notorious “The Counselor,” Pemberton’s new, captivating score for the filmmaker contrasts the almost satirically classical strains of unimaginable, robber-baron riches with the ethnic rhythms of kidnappers out to cut a slice from his pie in the form of a terrified young man. It’s an astonishingly varied “World” of scoring that mixes the voices of the angels with hallucinatory, Arabic-styled rhythms as we plunge into a nightmarish rabbit hole, music that mixes melodic beauty and percussive barbarity to powerful effect.

Equally hip in its own way is “Molly’s Game,” where Pemberton deals in on the alt. rock rhythm and blues game played by movies where gambling and shady behavior are king, especially when dealt by a queen of the game. Here the chips are the rapid-fire words of Aaron Sorkin, now typing as well as taking the lead behind the camera for his card sharp directorial debut. Pemberton is focused on the dialogue’s fun, crafty rhythm for music the crackles with energy as it mixes retro and alt. rhythms. Yet Pemberton also knows when to hold his percussion to hear inside of a woman for whom image, and intelligence are everything when calling the not-so bluffing hand of a man’s world out to shut her down. Play Pemberton’s two big holiday scores back to back, and you’ll clearly hear a composer with a straight flush style both refined and raw when it comes to a potential winning hand at the awards derby.

Your first score with Ridley was for “The Counselor,” which a lot of people feel was underrated. Why do you think that the audiences who saw it had a strong reaction, one way or another?

I think that people had a problem with that film because it’s not your typical Hollywood film. It’s a very bleak one, with no happy ending. It goes against all the rules in cinema in that sense, I think people were expecting it to be something else. What’s fascinating is that it’s a very divisive film –a great number of people really hated “The Counselor.” But at the same time there are those in the audience who are hardcore who really loved it. I even met a guy who tells me who watches it every day! Every time I see Ridley he always tells me that it’s one of his favorite film he’s done. He also told me that since “Blade Runner” he doesn’t care what people think about any movie he makes. He just wants to move on to the next thing. We always stayed in touch after “The Counselor,” and he told me one of these days that we’d work together again. And now here we are. It’s really great working with him again, fantastic, really.

Director Ridley Scott and Daniel Pemberton

How did your collaboration differ on this one?

It’s really not that different. I went to visit Rome where they were shooting. We sat through the rushes to decide what music would work. At the time I had this idea of using local folk singer they had in Italy. But in the end it didn’t seem to work with the imagery in the film. So we started playing around with ideas, such as the grand way that Getty Sr. didn’t live in a modernistic world. His was more of a classical one, which had a very grand style. We used that element of his world through music. Ridley is fascinated with architecture as well with the way he shoots around buildings, I think you get a real sense of that in this film, especially when you see Getty’s mansion.

Whenever you think of the idle rich, there’s always this kind of sinister quality about how music plays their money. Yet there’s also a satirical quality to it that you capture here.

Getty Sr. is a very enigmatic character, and the orchestra is always the grandest, slickest piece of music you can create. That symbolizes the kind of power and confidence the wealthy have. If you were to just give them the lonely oboe, they would look a lot more vulnerable. Now if you look at the kidnappers, they live in a separate world. Their lives are quite rough so the music for them had to be very different.

In that way, you certainly traverse a whole bunch of styles that symbolize “world” here.

When I saw Ridley in Italy, I played him some music that I wanted him to hear of these folksingers from there. He said “I love them! Record them!” But I told him that we didn’t have that much time. Ridley looked at me and said, “I’m sure you can make it happen.” I had to go out and record them the following Saturday! We managed to track them down in Sardinia. Sardinia, But they couldn’t read music. I showed them what I wanted and we ended up getting them on they score. They added a very different vocal texture. I think the score is about voices in that way. We have a lot of sacred medieval voices, which harken back to the grand, operatic nature of Getty and his flamboyant world of luxury. For the kidnappers we have this equally beautiful but very different Italian folk singing which has this almost Arabesque sound in Italian.

There are so many beautiful themes in the score, with one of the most strikingly haunting being a flute and brass motif that you hear on “minotaur” cue. It’s music that could have easily been in one of Ridley’s “Alien” movies.

That was a simple flute and brass motif that opened the film. I felt that it was very effective in depicting the enigmatic quality of Getty Sr. Ridley would always come to me saying, “Getty is an enigma. You cannot work him out. I want to have something that is quite simple that doesn’t say a lot about him. You should never feel one hundred percent about Getty.” Sometimes we played that theme straight and sometimes we wanted to make it more uneasy I would double that with this kind of microtonal clarinet note which is basically in D, slightly detuned. That created a basic uneasy feeling, which we feel is very effective in the film.

The score gets stranger and stranger as if you’re falling into this rabbit hole with Getty Jr.

The score definitely has got different elements in it. It gets darker and weirder because I wanted to capture that state of isolation and violence of the kidnapping, which give the score its edge as well. That also contrasts with Getty Sr.’s life of luxury and show how much he is removed from the world of his grandson, as well from the kidnappers.

What was your reaction when Ridley decided to reshoot all of Kevin Spacey’s scenes as Getty Sr.?

Kevin Spacey as John Paul Getty

I was in America when I heard about it – at the same time everybody else did. I found it to be crazy, but I know Ridley and I know what he’s like, he’s an amazing character. He has so much energy, more energy than you might and what I might have, or anybody else. He is this guy who says, “Let’s get this done. Go!” Half the thrill of working with Ridley is that you have to keep up with him the whole time. He is the captain of the ship. He can do anything.

Do you think it was necessary to replace Kevin?

Yes. The public perception around the person outside of the film influences how you watch their character, and the movie. So I think it was a crazy, ballsy move from Ridley. And I think it will be proven to be the right move.

If Christopher Plummer was originally cast in the movie would you have scored it differently?

Christopher Plummer as John Paul Getty

Kevin’s performance was a lot more cold and distant. I think Plummer’s is warmer and more charismatic. But I think both actors had valid performances. It’s fascinating to see this film twice now in that way. Ridley certainly knew what he was doing, and he’s made a fantastic movie with “All the Money in the World.”

How did you come across Aaron Sorkin’s attention for “Molly’s Game?”

Aaron told me he was a big fan of my score for “Steve Jobs,” a film that he wrote. We ended up going to the Golden Globes, with the real Molly Bloom, and it was there where he asked me to score the movie.

Given all the scripts that Aaron has worked on, it’s almost surprising to think that “Molly’s Game” is his first outing as a director. What kind of collaboration did that make it?

I was really amazed at how comfortable Aaron was as a director,. It was as if he had been doing it all his life. He was very open about what he wanted the music to do, and, had a bunch of ideas about it, especially the idea of a theme that would carry out to the end of the film. He also talked about orchestral stuff, whereas I wanted to do something more contemporary – an approach that he did let me do at first. Aaron was just really opened to whatever I showed him. He was a really strong collaborator, very supportive and very enthusiastic.

With a director and writer who really loves dialogue, did you find Aaron’s use of words was essentially like music?

Yes. There is a lot to process about Aaron’s dialogue, which is a very important part of the film. Musically, you’ve got to give the words space and match their tempo. You want to give them a personality, yet at the same time not get in their way.

Composers usually employ kind of a retro, rock and roll, rhythm and blues approach when they’re scoring gambling movies centered on gambling like “Ocean’s Eleven.” How did you want to put that kind of stylistic spin on “Molly’s Game?”

I always felt that poker movies seemed a bit more jazzy in terms of their approach. I wanted to go for something more contemporary like “Oceans’” did. While I love those scores, they’re also kind of self-consciously retro. I wanted “Molly’s Game” to be more like it was being written by a band than by a film composer. But I wanted it also sound like the band had the skills of a film composer to make it all work out.

When you’ve got a character as tough as Molly, is it important at all to give her a “feminine” quality in the score?

I didn’t look at as giving her a sense of “femininity,” because Molly is a very strong-minded person. I think I would have scored Molly in exactly the same way had she been male or female. But there were also definitely moments where I wanted to give the score a sensual, emotional edge, especially because there are some characters in the film that use their sensuality to influence people. But most of the time I tried to score Molly as a fighter, to give the idea that she doesn’t give up.

The score has a “western” quality to it, at times playing Molly as if she was some gambling gunfighter.

I originally wrote her theme on a baritone guitar, which Aaron liked. But we had had to change it a little because it sounded even more western than what was in the final version. I thought that sound just really worked for her character, as it had a theme that could build through the film and resolve in the end.

What was it like scoring Watergate with “Mark Felt: The Man Who Brought Down the White House?”

That was kind of crazy. “Mark Felt” was another Ridley project, and he recommended me to that film, I came in rather late in the production and had to score it very quickly. It’s another movie that’s very dialogue heavy. The score is like a supporting actor that helps the story move along. I wanted to infuse it with a 1970’s paranoia to create a very David Shire-like score in the tradition of “All the President’s Men.” I also tried to infuse it with more modern elements as well to create something that had a sense of period and paranoia. I think that “Mark Felt is a fascinating kind of film.

Another movie, and score that got quite a strong reaction was for Guy Ritchie’s “King Arthur.” I’d never quite heard a score, or watched a movie for the legend that was quite as crazy as this.

Bold and unusual scores it can have a really powerful effect on making a movie feel a lot more fresh. “King Arthur” was a crazy, crazy experience. It’s a crazy bit of cinema and I loved it. Guy wanted something that didn’t sound anything like a film score. And that is a very big challenge when you’re trying to score a film! Guy isn’t big on melody. He’s big on sound. A lot of it was very unusual. I tried to make something that’s not from the period, and something that you have never heard before. But I also tried to capture the texture of Arthur’s world, which is an important part of that score.

“Black Mirror’s” new season is returning to Netflix on December 29th, with one standout “Star Trek”-esque episode being “U.S.S. Callister.” What was it like scoring what looks to be a satire on sci-fi’s most famous show?

It’s a nutty episode. I am a massive “Black Mirror” fan myself. Weirdly enough, I used to work on a video game magazine with “Black Mirror’s” creator Charlie booker back in the nineties. I was like, “We should do something one day.” So this turned up. I was very busy but I wanted to do the episode. It’s really complex stuff, I can’t give too much away about “U.S.S. Callister,” but it’s almost like two film scores that slowly collide. One is very retro 1960’s soundtrack inspired by Jerry Goldsmith. The other is something that’s a lot more near future and something you’d expect from “Black Mirror.” It was fun to write unashamedly overly dramatic orchestral music for it.

“All the Money in the World” and “Molly’s Game” are essentially both movies about money. How do you see their thematic link about how money is spent and what it does to people?

Well, you know “Star Wars is about people with money, and how they want to take over the universe and all! I don’t know how much bearing this has on the scores but there’s a sense on the sound. I always try to encapsulate the worlds of the films through sound. Here, one has the adrenaline rush while the other is about living a life of luxury. These guys are both incredibly rich, but their worlds are completely different. But yet they’re all kind of equal.

What’s more fun for you to do? Stories based on stranger than fiction characters like these two movies, or fictional ones?

If it’s a job that is different than my last, I get excited. Different projects keep me on my toes.

How good are you at poker and how much should your ransom be if you’re kidnapped?

I’m very bad at poker. I have only played it once, I must have the worst poker face on earth. I’m very easy to read, very bad at lying. And how much should my ransom be worth? It depends on who’s paying it. If I were paying it, I’d probably pay a lot. But if I could pay that, I could get kidnapped! If they kidnapped me now, they can have a box of my CDs!

“All the Money in the World” and “Molly’s Game” open on December 25th, with Daniel Pemberton’s scores on Sony Classical. Buy “Money” soon, and play “Molly” HERE. Then go Deep Throat with “Mark Felt” HERE and rock out to “King Arthur” HERE

Thanks to Alexander Portillo for transcribing this interview

Categorieën: Filmmuziek nieuws

NEWS: 70 Original Songs from 61 Movies Compete for 2018 Oscar

Soundtrack News - Di, 19/12/2017 - 01:00
The Academy of Motion Picture Arts and Sciences today announced that 70 songs from 61 eligible feature-length motion pictures released in 2017 are in contention for nominations in the Original Song category for the 90th Academy Awards. The original songs, along with the motion picture in which each song is featured, are listed below in alphabetical order by film title and song title: "U.N.I (You And I)" from [m.51308]And the Winner Isn't[] "Love And Lies" from [m.48367]Band Aid[] "If I Dare" from [m.46308]Battle of the Sexes[] "Evermore" from [m.43383]Beauty and the Beast[] "How Does A Moment Last Forever" from [m.43383]Beauty and the Beast[] "Now Or Never" from [m.51309]Bloodline: Now or Never[] "She" from [m.50993]Bombshell: The Hedy Lamarr Story[] "Your Hand I Will Never...

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Categorieën: Filmmuziek nieuws

NEWS: 'Star Wars: The Last Jedi' Soundtrack Released

Soundtrack News - Za, 16/12/2017 - 01:00
Today, Walt Disney Records releases the original motion picture soundtrack for [m.38438]Star Wars: The Last Jedi[]. The album features a new score conducted and composed by five-time Academy Award-winning composer [c.231]John Williams[]. Oscar-winning composer [c.231]John Williams[]' ubiquitous [m.24564]Star Wars[] "Main Title" theme has become part of popular culture since it was first heard accompanying [m.24564]Star Wars: A New Hope[] in 1977. It is no surprise that Williams' orchestral compositions for Star Wars are among the most beloved and recognizable themes in cinematic history, from the classic "Main Title" theme introduced in [m.24564]Star Wars: A New Hope[] to the ominous "Imperial March" from [m.24565]Star Wars: The...

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NEWS: 'I, Tonya' Soundtrack Released

Soundtrack News - Do, 14/12/2017 - 01:00
Milan Records has released the [a.22028]I, Tonya - Original Motion Picture Soundtrack[] digitally and it will be available on CD on December 15th. The album features the movie's original score by [c.1310]Peter Nashel[]. [m.49890]I, Tonya[] released in select theaters on December 8th. "This score is different for me in that it lives in a much more traditional orchestral world than some of my other projects like [m.42390]Marco Polo[], [m.34540]Rubicon[] or [m.47455]Incorporated[]. Many of my previous scores were hybrid in nature and explored using analog and digital synths, and drones and pulses combined with acoustic elements. In the past, I've also always enjoyed using my studio as a major instrument in the music-making process, but...

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Categorieën: Filmmuziek nieuws

The Best Scores of 2017

Film Music Magazine News - Wo, 13/12/2017 - 16:36

Click on the album covers to purchase albums from this list

(Bear McCreary / Lakeshore Records)

A master of all musical genres from playing “Outlander’s” vast Scottish highlands to the intimacy of a doomsday bomb shelter at “10 Cloverfield Lane,” Bear McCreary unleashes his most improbable musical juxtaposition of pitting Godzilla worthy, city-stomping orchestral stains against the indie guitar groove of a woman on the edge of a nervous breakdown. But it’s that unlikely style versus style match that makes “Colossal” so memorable as it makes the link between monster-spawning psychic power and abusive, alcoholic dysfunction. McCreary’s grooves take what seems to be loser comedy into a far bigger emotional dimension, skillfully cohering both approaches into terrifically thematic music that’s both epic and empowering for this demonstration of musical grrll power unlike any other.

(Michael Abels / Back Lot Music)

Concert composer Michael Abels makes a stunning feature debut into horror scoring with this subversive takedown of a genre where black usually means dead. That he survives with new career life to spare says much about how Abels not only excels with the genre’s musical expectations of creeping strings, chilling harps and rampaging percussion, but he also goes well under the musical skin to chorally convey the anguish of his kin trapped in the bodies of ersatz slavemasters. Hypnotic melodies literally sink us into a black hole, sinister, tick-tock rhythms bet on bodies and a ukulele evokes white suburbia as a sinister plantation. That spiritual, hushed voices mix with the classic jazz standard “Run Rabbit” mark “Get Out” as a breakout of scary subversity that at once goes for the genre while flooding it with a social conscious subtext.

(Daniel Hart / Milan Records)

Given the simplest, silent evocation of a white sheet and two eyeholes to conjure a specter, composer Daniel Hart literally has a white canvas to fill with unwanted eons of the afterlife for his most profound teaming with director David Lowery after the rustically inventive “Ain’t Them Bodies Saints” and “Pete’s Dragon.” But as opposed to scariness, the haunt here is one of poetic sadness, as a classical chamber sound shivers with the unbearable yearning to touch a loved one whose grief can only be witnessed. As an incalculable Moebius loop of time passes, Hart’s poetic, sometimes abstract score brings in other elements with sampling and voices to open the score up with a sense of the cosmic destiny. It’s a long-waited step into the light whose sheet is also given thematic structure by Hart’s beautiful song “I Get Overwhelmed,” an emotion that his “Ghost Story” conveys with the moving, unimaginable intimacy of being dead.

(Oneohtrix Point Never / Warp Records)

When resurrecting the 80’s synth sound is all the rage, no artist has quite mainlined retro synths into a nerve-blasting primal scream like alt. electronica artist Oneohtrix Point Never (aka Daniel Lopatin). Hitting you like a kick in the face with its blazing, scumbag-enabling force for a robber’s desperate journey to round up bail for his slow bro, Oneohtrix plunges us into a miasma of guitars, keyboards and metallic percussion that run hell bent through NYC over the course of a night. If Tangerine Dream’s landmark “Thief” score was about a higher class of criminal, Oneohtrix’s score is the evolution of groove for a drug gutter punk. He doesn’t give a damn in the coolest way if you’re smashed in the face with sharp-edged rhythm of blissfully tripping with his hallucinatory music. It’s a insanely creative stew of a score that puts you into desperate mind, and situation of a villain like few other druggie soundtracks before it, or likely after it in terms of warping retro technology into one brilliant hot mess.

(Roger Suen / Notefornote Music)

The blazing, racially fueled conflict of the LA Riots gets seen through director black and white eyes, as given powerfully unexpected, musical color by composer Roger Suen. Like some absurdist city symphony, retro synths play over noir jazz, Melancholy guitar replaces hip-hop for the inner city wasteland, while a sales frenzy becomes a cooing Latin rhumba. A lyrical, French-accented theme a la Debussy stands for the relationship between a black girl and two Korean-American shoe store owners, whose playful Shangri-La of sorts gets rudely interrupted as the cinematic vibe of “Clerks” tragically transforms into “Do the Right Thing” in director Justin Chon’s audacious, emotionally impactful indie. Suen’s work is as scrappy and inventive as the characters struggling for their slice of The American Dream, music that’s at once poignant, wacky and gut-wrenching, steadfastly refusing to slip into the musical clichés you’d expect as it takes a toned-down, eccentrically lyrical approach to a tragically heated situation, at the end overwhelming with the simply stated thematic poignancy of an unlikely friendship’s paradise lost in an urban wasteland where people just can’t get along.

(Jon Ekstrand / Milan Records)

The increasingly old mummified chestnut of an unwelcome critter on a spaceship gets significantly rejuvenated in this major comeback for composer Jon Ekstrand and director Daniel Espinosa after the positively DOA thriller “Child 44.” Given the opportunity to unleash his big, orchestrally imaginative guns an evil E.T. squid (even as everything the astronauts throw at it proves horrifically ineffective), Ekstrand at first does a neat fake-out. Indeed, his score couldn’t be more wondrous, giving heavenly voices and “Also Spach Zarathustra”-like swells to what seems to be man’s newest best friend, hearing all the majesty of first contact. But when the blob hits the ventilation shaft, it’s go time for Ekstrand. Approaching the genre like he was the first person to be scoring it, Ekstrand dexterous use of growling, metallic rhythm goes from one relentless build to the other, all the while keeping desperate human emotion front and center. As musically developed as its steadily growing creature, Ekstrand unleashes a scarily exciting musical presence that shows that horror sci-fi scores of this type can indeed be generated from a melody-based life form.

(Mandy Hoffman / Milan Records)

Azazel Jacobs’ witty, French-styled movie about a roundelay of cheaters is about as low key and indie as you can get, which is all the more reason to grace it with an impossibly romantic orchestral score by Mandy Hoffman. Certainly knowing something about falling head over heels with her work on Amazon’s “I Love Dick,” Hoffman channels the string-swooning, harp glistening ghosts of such incurably romantic melodists as Georges Delerue and Nino Rota for a thematically lovely score that’s as big as the movie is small, in all the right ways. Rarely have American scores of this type captured the starry-eyed, waltzing magic of blissful attraction, the score practically singing with unbridled passion. It’s an ironic counterpoint that also enriches the comedy of characters that’d seemingly rather not speak at all. And when the almost perfect affairs begin to collapse, Hoffman’s impossibly lush approach isn’t afraid to go for drama that might befit a Shakespearean tragedy. But all’s well that ends well in Hoffman’s witty, heartfelt dance that doesn’t stint on the strings and crashing cymbals for a rapturous, yet quite droll score that will likely make you fall in love again with a dearly departed style of unabashedly emotional scoring that, like its suddenly interested husband and wife, certainly isn’t past its prime in Hoffman’s wonderfully attuned hands.

(Alexandre Desplat / Decca)

A distinctly adult and sensually fulfilling beauty and the beast fairy tale, the enveloping attraction between a mute washwoman and Amazon Gillman is certainly a match made in heaven for Alexandre Desplat, who’s dealt with supernatural romance in such poetic scores as “Birth,” “The Curious Case of Benjamin Button” and his “Twilight” saga entry “New Moon.” Given French composers’ natural love of the sea, Desplat jumps into La Mer by way of America’s Cold War. It’s a fluid mix of “Amelie”-worthy whimsy, spy suspense and the lurching strains of a classic monster-on-the-loose score, all graced with a sympathy that befits one of the best works of director Guillermo Del Toro, a lover of beasts if there ever was one. There’s a delightful sense of the off-kilter with whistling and instruments approximating Theremins and accordions that drift across “Water’s” lovely melodic structure. You certainly won’t find a more beguiling love theme than the one that wraps around the bliss of inter-species consummation here, as done with lush grace by one of film scoring’s great melodists. “Water” is heart-melting, breathtakingly gorgeous music that resounds with empathy for the freakish outsider, where the real musical menace comes from violently prejudiced humans. That Desplat conveys those weighty emotions with the most gossamer of orchestrations for its mute characters says much for the poetry of his unabashed dive into Del Toro’s enchanted, if still dangerous worldview.

(Michael Giacchino / Sony Classical)

The Caesar of composing for movie sci-fi franchises, Michael Giacchino puts a biblical period onto perhaps the most nostalgic of all the iconic serials as he’s tackled by delivering an ape Moses to The Promised Land. After placing the crown of leadership on the hero’s head with “Dawn of the Planet of the Apes,” Giacchino powerfully develops his themes with a pilgrimage through a homo sapien forbidden zone that’s not only full of primal fury, but surprising humor as well. Painting a most human portrait of The Lawgiver as war veteran with delicate bells, haunted voices, military marches and imposing brass, Giacchino also doesn’t forget his animal side by mutating Jerry Goldsmith’s iconic, tribal approach into an array of ethnic drums and wind instruments, a defiant, proud melody a la John Barry leading the ape exodus. Matching Caesar in musical intensity is the steel-eyed metallic coldness of his Colonel Kurtz-like adversary. While Giacchino’s monkey will certainly make you cry, perhaps even more clever than the hosanna-filled dramatic grandness of deliverance, perhaps no cue in his “Planet” is more clever than an extended breakout sequence that builds on witty, pokey rhythm to have a pounding, chanting chorus outsmart the devolving soldiers. Giacchino has effectively built on the ape ancestor soundtracks before him into a towering, unexpectedly moving score for what just might be the best “Apes” movie of all time, with extra monkeyshines of turning one his many memorable themes into a Latin tango during the end credit roll.

(Rupert-Gregson Williams / WaterTower Music)

Rupert Gregson-Williams might not be a woman, but he’s certainly channeled his inner Amazon to create one of the most mythically emotional scores for a DC superhero since John Williams gave flight to “Superman.” There’s an undeniable female strength to his proud themes, music whose ethnic beat and female voices speak for her Zeus-spawned powers as much as the important occasion of the first major superheroine movie, pitting a soaring sense of goodness against the darkness of Teutonic armies and a warrior-god. Rarely has emotion blended so well into action scoring, especially in a trench run that orchestrally energizes Hans Zimmer and Junkie XL’s Wonder Woman theme that was the best thing about “Batman Vs. Superman.” With Tina Guo’s electrifying cello playing, Wonder Woman’s big heroic reveal makes viewers shed tears as well as clap their hands. Even better, Gregson-William’s rhythmic chops never make the score seem dated, a vital factor for any superhero film set in a pre-MTV era. As much of a thrilling thematic fanfare for Wonder Woman’s long-awaited big screen arrival as it is about the dismayed, and tragically romantic feelings of a sheltered innocent abroad in the battlefields of the war that didn’t end all wars, “Wonder Woman” is a cinematic and scoring triumph of the genre that any Man of Steel would envy.


(Mark Todd / Filmtrax)

Where Arnold Schwarzenegger is used to gleeful musical payback, the star has his revenge served cold, and with no fulfillment other than an “Aftermath” that gives the star his most human role. Given the truth-based story a bereaved father who goes after the air traffic controller who seemingly sent a plane to its doom, composer Mark D. Todd has taken an approach that’s full of grief, yet done so with shattering subtlety. Having scored director Elliott Lester’s last film about a man going mad in “Nightingale,” Todd’s haunted, often ethereal melodies build with the character’s psychosis, his sustaining use of melody bringing to mind the use of modern classical music in the other devastating plane crash film “Fearless,” as enhanced here with crystalline percussion for the collision between two devastated men– a haunting downer of a score that builds on its simmering emotion to anguished, transfixing effect.

(Nicholas Britell / Sony Classical)

Given the clownish media spectacle surrounding the Billy Jeanne King vs. Bobby Riggs tennis match, it would’ve been easy for Nicholas Britell to score “Battle of the Sexes” with the satirically hyper style he gave to “The Big Short’s” financial meltdown. However, the composer’s unexpected power serve is in going for the meditative mood of his Oscar-winning score for “Moonlight,” which is perfect given that this film is even more about a woman coming to terms with her same-sex attraction as it is about winning the day for her sex. The result is a score that nicely acknowledges Bobby’s buffoonery and the groovy 70’s, but is even more impressive in developing a sensually hypnotic sound for Jean’s attraction, and a captivating theme for her desire to win on the court. It’s a motif that grows in power to an orchestral-organ epiphany that’s like “Rocky” in the ring with “Interstellar.” Britell’s ten minute-plus thematic volley between Billie and Bobby is a lesson in how to develop a singular idea and make it utterly captivating for a long, suspenseful stretch, a smart thematic serve that gives Britell another big scoring win.

(David Wingo / Lakeshore)

A composer especially skilled in playing societal castaways in “Mud,” “Midnight Special” and “Loving,” David Wingo now keeps memorable company with a man-child shanghaied into an especially skewed children’s show. His rude awakening to society, and desire to complete his particular story arch to the insanely cosmic “Brigsby Bear” is done with touching, gentle empathy by Wingo, who uses ethereal, near sci-fi atmospheres of 80’s era electronics, along with a sense of fantasy grandeur. Communicating a joy of discovery with a whole new universe of DIY movie creativity, along with poignant self-realization, Wingo and this wonderfully unique film from SNL’s Lonely Island crew make something truly touching out of a wackadoo universe that could easily be mocked. Wingo’s poetic themes are the moving, eccentric starstuff of a deeply personal kid’s stuff.

(Benjamin Wallfisch / WaterTower Music)

From the often frenzied supernatural scoring of “Lights Out” and “Annabelle Creation” to the elegantly waltzing rot that was “The Cure To Wellness,” Benjamin Wallfisch knows what scares you, especially when it comes to balancing the seat-jumping dissonance that’s horror scoring’s rage with sumptuously chilling old school melody. They’re the shades of evil and innocence that are contrasted for his truly epic and terrifying score to “It.” Mixing unearthly samples with tingling strings, screaming brass and the howls of a demon clown’s victims, “It” has the circus come to fear town, hearing real youthful tenderness and then gleefully distorting it at the next instant. It’s the sound of innocence facing off against evil that gives “It” an emotional resonance uncommon in genre scoring that still has its cake and eats it too, with strings played like knives and brass becoming blunt instruments as children’s’ voices alternate from angelic to the satanic. Wallfisch’s atmospheric scoring throws us into the heart of sewer drain darkness, where the only hope is the lyrical bond between its barely post-pubescent loser’s club. “It” springs menace upon them like a cosmically deranged clown car to massively unnerving and taunting effect, while still holding onto the characters’ tender bond that ultimately guides them to the light – at least until Wallfisch returns to terrorize them as adults in Pennywise’s next outing.

(Henry Jackman / WaterTower Music)

Henry Jackman certainly has a thing from investing action scores with a 60’s groove, especially when giving both Kingsman and X-Men a hep British swing. But even given it’s Vietnam War-era setting, this Kong isn’t up for snappy groove outfits. Instead, Jackman joyously goes full Jimi Hendrix on the Big Ape, jamming rock guitar solos with ethnic tropical rhythms and doomed military gusto. It’s a score that beats its chest with incredible cleverness, yet isn’t so apart from the thematic, Wagnerian spirit that Max Steiner used to give life to Kong, and film scoring itself in the first place. Noble, swaggering melody gives heroic weight to the rumble in the jungle between ape, serpents and army madmen, delivering a terrifically exciting, brass-trumpeting knockdown monster mash whose mighty orchestra sings with god-like majesty. That Jackman puts equally big emotional feeling into Kong makes us root for his win all the more in a score that starts like a hippy but ends with wonderful symphonic convention.

(Johann Soderqvist / Varese Sarabande Records)

A master of Nordic noir from “King of Devil’s Island” to “Murder Farm” and the vampiric “Let the Right One In,” Swedish composer Johann Soderqvist effectively transports his mesmerizing, lethal sensibilities to Victorian England in pursuit of a Jack the Ripper-styled serial killer. Chasing the thematic clues with a suspenseful orchestra, “Seven”-worthy statements of lurching brass and harps tingling the spine like fog masking another gutted victim. Soderqvist effectively swings the score’s pendulum between icily creeping fear and gorgeous, tragically sweeping romance for a detective out to save a female suspect whom he views as a victim of sexist society itself, her plight made all the more sympathetic with tender piano and lilting violin. Sleuthing about with lush melody and tingling, sinister gestures, Soderqvist builds to the big, surprising reveal with the orchestral impact of fate pointing its doom-possessed finger, making an orchestral statement about the killer nature of celebrity that positively chills the blood in its Bernard Herrmann-worthy operatic blend of tragic romance and thunderous orchestral outrage. Scoring murder is an international language indeed for Soderqvist.


(Thomas Howe / Sony Classical)

Given the love triangle behind the ultimate, dual identity example of female empowerment and bondage, Tom Howe’s flip side to the origin of Wonder Woman’s most miraculous feat is in musically convincing us that being tied up can be a musical thing of emotional warmth and beauty. That truth is told in Howe’s ingenious use of magical rhythm to convey the inventor of the lie detector, the heartbeats of his wife and best student awakening to the erotic possibilities with gossamer, waltzing melody. It’s lovely music for a taboo-breaking romance, with society’s intrusion giving the score its dramatic bite. Like Princess Diana’s glowing lasso, Howe’s thematically binding, lushly magical score holds us utterly in its super heroine-to-be sway, as brought to earth as forbidden fruit that’s deliciously explored with good taste.


(Carter Burwell / Varese Sarabande Records)

A master of scoring Midwestern crime tales from his work with The Coen Brothers on the likes of “Fargo,” “Miller’s Crossing” and “The Man Who Wasn’t There,” Carter Burwell has an unmistakably humorous sense of dramatic irony with sin-tolling bells, gravely somber pianos and the portentous strings of biblical punishment. These three on well on display on “Three Billboards Outside Ebbing Missouri” for a violent chain of events created by frequent English collaborator Martin McDonough (“In Bruges,” “Seven Psychopaths”). But what truly sets Burwell’s immediately recognizable brand of flyover noir is the deep empathy he has for a cantankerous, grieving mother who won’t take her daughter’s unsolved killing lying down, feeling her rage with galloping Spaghetti Western strains as much as her sorrow through poignant flute and guitar melodies. For if we’re gleeful spectators to Burwell’s repertoire where innocents often get lethally caught up murderous shenanigans, “Billboards” carries a new depth of understanding, capturing the film’s often shockingly hilarious outbursts of rage, but also feeling for the wounded emotions that drive them, no more so than when he lyrically underscores a suicide note to poignant effect. Not only do the twangy, thematic “Billboards” join together a sense of angered community, but even more importantly tells of its tragically, if often bemused wounded heart.

(Thomas Newman / Back Lot Music)

After two stays at The Exotic Marigold Hotel, Thomas Newman certainly knows his way around the upbeat rhythms of modern India – just as much as he does with England’s pomp and circumstance after having spent time with Margaret Thatcher in “The Iron Lady.” “Victoria & Abdul” is the composer’s quite lovely culture clash, a real-life drama set during the time of Britain’s most seemingly repressing queen, who’s presented with a spiritually enervating emissary from her colony. How this warm man of the turban brings Victoria out of her shell is the endearing, magical stuff of Newman’s score that pokes humor at the stuffed-shirt affectations of the crown, while unveiling a moving, emotional bond between two human beings above all. One of Hollywood’s most progressive composers from the start who’s wrapped his family’s symphonic majesty in experimental grooves, Newman’s deeply sympathetic masala of ethnic grooves, whimsical winds, hip percussion and old school orchestral royalty wears its crown high at putting new life into costume drama scoring, music that’s both wonderfully imperious and down to hip Indian raga earth.


(Christian Wibe / Varese Sarabande Records)

You can find the rhythmic, racing fusion of orchestra and electronics in just about every dystopian action score to feature heroes dodging bullets amidst bleak industrial landscapes. Hell, you could say that about just every present-day action score as well. But what makes “What Happened To Monday?” so thrillingly unique as it accompanies the feats of seven diminishing twins in a single child or die future is how composer Christian Wibe amps up the emotion of his full-throttle chases. He makes you care about who will stay two steps ahead of his breathless, surging rhythms during an even more wonderfully nutty collaboration with director Tommy Wirkola after the zombie Nazi hijinks of two “Red Snow” films. Building an imposing wall of sound for endless legions of foot soldiers out to severely enforce birth control, Wibe shows how well one can combine pounding rhythms and snarling brass while still keeping melodic humanity in the lead. It’s a cool, assured rhythmic approach with a real, singular personality, having that ever-building action score dance take some especially thrilling steps as it leaps from one rooftop to the next as it rousingly takes on the powers that be.


Music and romantic mates Bronwyn Griffin and Austin Garrick have been exploring the ghost in the alt. machine as the Toronto-based “synthpop” duo Electric Youth, who now make a black box to the afterlife resonate with “Breathing” (Milan Records) that meshes the ever-popular retro 80’s vibe with a beautifully haunting string and song presence. That the score itself exists in an alternate dimension outside of the ultimate, still unreleased afterlife thriller says much about Youth’s potential.

While the real-life inspiration for Rocky named “Chuck” is still waiting to be a soundtrack contender, there’s no counting down the likeable, punching bag, especially given how up and coming composer Corey Allen Jackson (“Painted Woman”) has given the boxer a hangdog rhythm and blues spirit. Like every other loveable mug, there’s nothing better than the sweet science of a Hammond organ, drum kit and sax at conveying a palooka, especially when backed up with military timpani that’s a call to arms, or in this case to lay them back for a volley of good-natured punishment in the ring, even as “Chuck’s” grittily groovy score comes out swinging.

Russian composer Alexei Aïgui captures an authentic American groove of black writer James Baldwin, whose insistence to a condescending society that “I Am Not Your Negro” (Music Box Records) channels the black music experience, from the bitch’s brew jazz fusion of Miles Davis to passionate solos of Thelonious Monk and Charlie Parker, their inner city styles coalescing into a vibe that’s both film noir and social justice anger. It’s impressive documentary scoring that plays a literary revolutionary as much as it does the urban vibes that that inspired him.

If metal is indeed Satan’s favorite music, then “The Devil’s Candy” (Death Waltz) hits the horrifying sweet tooth. Given nice guy metalhead parents dealing with the serial killing ramifications of their tunes, Michael Yezerski uses gnarled chords and barely perceptible, pulse-quickening samples to build an unholy atmosphere that’s steadily coming for blood, exploding for the final attack like a psychotic longhair symphony. Electric guitar scoring blazes with furious hell’s bells, with Yezerski’s terrifying, head banging chords brilliantly capturing every thing that’s wrong about metal – and very right when it comes to horror scores that take no prisoners.

The pathetic vanity of social media is most definitely the tempo of Jonathan Sadoff (“The Mick”) and Nick Thorburn (“Sundowners”) when they join snarky forces for “Ingrid Goes West” (Mondo). Their approach couldn’t be more joyously satirical in its takedown of everyone’s life that’s better than yours, especially when playing the just-want-to-be-loved madness of an anti-heroine, who at least gets some poignancy as opposed to the fake strains of the poseur she idolizes. It’s memorable comedy scoring that at once makes scary, Hawaiian-flavored fun of a trend that’s driving everyone nuts, while having a sympathetic heart even as it rhythms spin about with the machinations of just wanting to be loved.

Following up a musically authentic turn-of-the-century journey to America for filmmaker James Gray’s vastly underrated “The Immigrant,” composer Christopher Spelman once again proves himself an ideal tour guide for the director’s intellectual approach into more exceptional, unsung territory to find “The Lost City of Z” (Filmtrax). Though his delicate string melodies are redolent with the English countryside its explorer returns to, Spelman’s fixation lies with his pursuit of an ancient Amazonian city, a contrast between proper civilization and tribal, South American music that ultimately goes up the river to discover drifting, transcendent melodies that prove that the journey isn’t so much the destination, but instead a beautifully mystical place of mind that mesmerizingly transports the listener to a place of legend.

Alt. rock bands once again prove to be a creatively fertile source for musicians that bring a unique sound to scoring, especially in the case of Son Lux’s Ryan Lott, who accompanies a teenager on the run from his girlfriend’s especially nasty sheriff dad in “Mean Dreams” (This Is Meru). While the impossible hopes of young love on the run might be familiar thematic territory, this is a deeply poetic, and disturbing film that takes anything but the usual path. That’s especially thanks to Lott, who’s howling, primal fusions of instruments and samples create an powerful wall of percussive rage, all the more disturbing to contrast his poetic, tender music for the likable couple that reverberates with an eerie, elegiac sense of childhood lost in the backwoods, sensing a future that will likely have no happy ending given Lott’s alternately enraged and spiritual moods.


While it’s a guess as to what kind of music they played during Ireland’s Dark Ages, leave it to that country’s composer Stephen McKeon (“Black Mirror”) to give us a good, violent taste of its ancient instrumentation that pursues a hapless band of monks and their holy relic in “Pilgrimage” (coming soon on Movie Score Media). It’s guttural, violent instrumentation that evokes a beautiful countryside whose rigid holiness is under siege by pagans, an impressively unplugged action sound that ferociously throws us into the period in way that far more modern orchestral scoring can’t. The score is all the more mace-in-your-face impactful for it – balancing musical brutality with a sense of religious dogmatism that’s leading its holy men to ruin. McKeon’s delivers a poetic and percussive approach whose iron and skin instrumentation practically drips with the moss and blood of humanity far from being remotely civilized with old time religion.

After supervising music for the frequently super-powered characters that emerge from J.J. Abrams’ Bad Robot Productions, Charles Scott IV makes his feature scoring debut with a comic book movie of sorts – a feat made all the more impressive in that the do-gooding hero of “Sleight” (Lakeshore) is a drug dealing street magician. Scott gives him a memorable identity that reflects his ragtag origins as opposed to any Wagnerian Avengers-worthy music, a clever hat trick whose ersatz Iron Man powers are embodied by futuristic synth-rock vibrations, cool Massive Attack-like beats, and urban heritage given voices that could befit a church spiritual. But even if the mood isn’t about playing bullet-halting heroics, the attitude of saving the hood is very much there in the composer’s ethereal approach, whose magnetism varies between hypnotic ambience, rock guitar determination and muted hip-hop beats to impressively suits up a new brand of hero.

West Dylan Thordson segues from playing a real-life, Jack-of-all identities killer in “The Jinx” to M. Night Shyamalan multiple personality supervillain for “Split” (Back Lot Music). The composer prowls through the sympathetic string passages of a tormented man’s more likable inhabitants and his plight of his victims. But given that one inhabitant is a cannibalistic beast, Thordson creates a twisted, guttural personification that’s a force to be reckoned. Striking an eerie, affecting balance between the tortured childhood that links both villain and victim, Thordson’s psychologically incisive score to blends emotion and unbearable tension truly gets under the skin until finally letting lose with a subterranean presence that grinds its growling, metallic fury to terrifying effect for a score that really gets under the skin in more ways than one.

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Categorieën: Filmmuziek nieuws

NEWS: Golden Globe Nominations Announced

Soundtrack News - Di, 12/12/2017 - 01:00

The nominations for the 75th Golden Globe Awards were announced today. The nominees in film music related categories are as follows:

Best Original Score - Motion Picture:
[m.47619]Three Billboards Outside Ebbing, Missouri[] - [c.24]Carter Burwell[]
[m.48148]The Shape of Water[] - [c.752]Alexandre Desplat[]
[m.48468]Phantom Thread[] - [c.1579]Jonny Greenwood[]
[m.49200]The Post[] - [c.231]John Williams[]
[m.45378]Dunkirk[] - [c.237]Hans Zimmer[]

Best Orginal Song - Motion Picture:
"Home" - [m.37934]Ferdinand[] Songwriters: [c.]Nick Jonas[], [c.]Justin Tranter[] & [c.]Nick Monson[]
"Mighty River" - [m.49883]Mudbound[] Songwriters: [c.6577]Raphael Saadiq[], [c.4724]Mary J. Blige[] & [c.]Taura Stinson[]
"Remember Me" -...

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Categorieën: Filmmuziek nieuws

NEWS: WaterTower Music Announces 'The Disaster Artist' Soundtrack

Soundtrack News - Za, 09/12/2017 - 01:00
WaterTower Music announced today's release of [a.22150]The Disaster Artist - Original Motion Picture Soundtrack[]. The album features the movie's original score by [c.2495]Dave Porter[] ([m.33133]Breaking Bad[], [m.40368]Better Call Saul[], [m.39254]The Blacklist[]) and dialogue clips from the movie by James Franco. [m.47025]The Disaster Artist[] is now in theaters nationwide. "James Franco's passion for this story and his incredible performance as Tommy Wiseau raised the stakes for all of us fortunate enough to collaborate with him on [m.47025]The Disaster Artist[]," explains Porter. "He inspired all of us to find the "Tommy" within ourselves, and express warmth, hope, and compassion for two protagonists that we might have expected...

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Categorieën: Filmmuziek nieuws

NEWS: Philip Glass to Receive The Society of Composers & Lyricists' highest honor

Soundtrack News - Vr, 08/12/2017 - 01:00
Iconic film composer [c.74]Philip Glass[] will receive The Society of Composers & Lyricists (SCL) highest honor, The SCL Lifetime Achievement Award, Tuesday, December 12th, 2017 at the SCL NY Chapter Holiday Dinner and concerto at the MIST HARLEM - 46 W 116TH St. Harlem, NY. Dinner at 7pm; Concerto at 8:30pm. The celebrated composer has received three Academy Award nominations for his scores for [m.11673]The Hours[], [m.18815]Notes on a Scandal[], and Martin Scorsese's [m.13862]Kundun[]. A prolific composer for film, television, operas and theater, Glass has created music for over 200 projects including more than 100 films. Philip Glass is currently receiving critical-acclaim and accolades for his original score to Brett...

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Categorieën: Filmmuziek nieuws

NEWS: Lakeshore Records to Release 'Star Trek: Discovery' Soundtrack

Soundtrack News - Wo, 06/12/2017 - 01:00
CBS Television Studios announced today the release of the original score of the CBS All Access series [m.50145]Star Trek: Discovery[], which premiered earlier this fall. The album, featuring the score by Emmy Award-winning composer [c.3178]Jeff Russo[] and distributed by Lakeshore Records, will be available digitally on Friday, Dec. 15, with presales beginning Friday, Dec. 8. The soundtrack will be available as a CD and vinyl album in early 2018. "Grand, glorious, hopeful, heartbreaking, intimate, bittersweet, tense, soaring, surprising. Over 51 years, in its many iterations, there's been no shortage of adjectives to describe the music of [m.24537]Star Trek[]," said co-creator Alex Kurtzman. "On the other hand, the list of...

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Categorieën: Filmmuziek nieuws

NEWS: Weekly Roundup: December 1

Soundtrack News - Za, 02/12/2017 - 01:00
This week, the Grammy Award nominations were announced. Check out the nominees in the categories "Best Song Written for Motion Picture, Television or Other Visual Media", "Best Score Soundtrack for Visual Media" and "Best Compilation Soundtrack Album for Visual Media" by [url./news/article/?id=2496]clicking here[]. Congratulations to all the nominees. Announced this week were new composer assignments for [c.1746]Max Richter[] ([m.48568]White Boy Rick[]), [c.1240]Rob Simonsen[] ([m.49223]Love, Simon[]) and [c.630]Christopher Lennertz[] ([m.51201]Lost in Space[]), among many others. For the full list of composer and music supervisor assignments from this week, [url./composers/]click here[]. Over 40 new soundtrack albums were released this week. [da.2017-11-28]Click...

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Categorieën: Filmmuziek nieuws

Interview with Dave Porter

Film Music Magazine News - Vr, 01/12/2017 - 01:48

With his legitimately good talent, composer Dave Porter has often been called upon to play characters that are swaggering geniuses – even if it’s sometimes within their own minds. Rising from the ranks of Philip Glass’ braintrust, Porter went from scoring “Saved’s” crazed cable paramedics to a “Smiley”-faced serial killer and an adrenalin junkie in “Bigger, Stronger Faster*” to truly hitting it big with “Breaking Bad.” Creating the entire musical run for one television’s most acclaimed shows firmly put Porter on the TV map with his prolific scoring on “The Blacklist,” “Flesh and Bone” and “Preacher” A teacher-turned-meth dealer, a crime kingpin, ladder-climbing dancers and a super-angel possessed cleric certainly added to Porter’s repertoire of driven characters. Yet their need for success just might musically pale before the cinematic desire of Tommy Wiseau, the swaggering, real-life auteur of “The Disaster Artist.”

While those populating movie multiplexes might not necessarily be in the know, Wiseau is a legend to his bad movie cult as the architect of “The Room,” a haplessly inept, transfixing hilarious 2003 drama. Seemingly set in another dimension by a filmmaker with a skewed grasp of dialogue, let alone human behavior, “The Room” was the vision of an actor, writer and director who cut an unintentionally fearsome figure for a movie of its sex-filled type. Balancing Wiseau’s striking brand of charisma was the California surfer dude looks of co-star Greg Sistero (played by James’ younger brother Dave), whose book about The Wiseau Experience has now been turned into “The Disaster Artist.” But if “The Room’s” spoon-throwing appeal is making fun of Wiseau’s deeply personal work (one that its director has none-too-convincingly passed off as comedy for his sold-out crowds), “The Disaster Artist” does the furthest thing from mocking the tireless commitment of the enigmatic figure whose movie has entertainingly outlived far better ones.

Listening to the memorably proud, can-do theme that Dave Porter gives “The Disaster Artist,” one might think that he’s scoring a picture dealing with young, upstart people readying themselves for a rocket launch against all odds. And that’s the point for the composer as he joins uber-“Room” fan director / star James Franco in paying heartfelt tribute to Wiseau and Sistero’s unlikely bond. Joining strings with rock guitar, Porter counts down for “The Room’s” climactic premiere with the warmly inspirational string sound of the hopes and dreams driving so many fresh-faced (and likely older than that) Hollywood newcomers. But as rhythmically inspirational as Porter’s work is, the composer’s alt.-accented tribal darkness and off-kilter percussion are also a big part of the picture in hearing Wiseau’s perception of himself as “Frankenstein” out to find a personal connection. For if the similarly-themed “Ed Wood” was about a handsome director who wanted to finally make a truly good film, even more important for “The Disaster Artist” is finding a true friend. It’s an unexpected, emotional complexity for a mystery man that helps Porter create a score that’s both oddball and hopeful, one where obviously comedic music isn’t part of the equation.

Now with a score for a film that’s gotten way more legitimate acclaim than the disaster that gave it birth, Dave Porter’s stay in a greatly refurbished “Room” will hopefully help him enter a bigger cinematic domain, all as he continues to provide feature-worthy television with some of its most uniquely eccentric scoring.

Had you seen “The Room” before you got this film. And if so, what was your reaction to it, and your favorite “Room” moments?

I was aware of the “The Room” and the cult status it had attained, but had never seen it before I started work on “The Disaster Artist.” Once I was in discussions to sign on to the project, I read Greg Sistero’s book first and then watched “The Room.” Or tried, at least. I have to be honest and admit I’ve never made it through the whole thing in one sitting. By now I’ve seen all of it many times, but all at once has always been too much for me.

Have you ever walked away from a project because you knew it was bad, or taken up the challenge because you needed the bread, or hoped your music could somehow make it better? If so, what’s it like trying to musically hold up something that you know is doomed, or that you might be laughed at for doing?

I’m very fortunate at this point in my career that I can be more selective, but every composer coming up in the business has had to work on things that he or she wish they didn’t — either to gain experience or just pay the rent. My goal in those situations was always to do the best work I could, and learn something from the experience.

At what point did you realize you’d truly made it with “Breaking Bad?” And how do you think the show made people perceive you as a composer who could really capture characters with a rebellious streak?

If by “made it” you mean feel like I’d reached a point where I was comfortable in the belief that I would have a sustained and successful career as a composer, that didn’t happen until quite recently…. long after the end of “Breaking Bad.” One show doesn’t make a career, even a wildly successful one. You have to win the trust of a lot of people over the course of a lot of projects to get to that point. As for writing for rebellious and flawed characters, I think those are just the projects that tend to resonate with me the most. Human, relatable, intricate stories of characters at war with the system and at war with themselves… and discovering things about themselves through that fight.

How did “The Disaster Artist” come your way?

I’ve had the pleasure over the past few years of working with Seth Rogen and Evan Goldberg on the AMC/Sony television series “Preacher.” I believe that it was during one of those meetings that I overheard them talking about “The Disaster Artist” and was quickly intrigued enough to inquire about working on it with them. Luckily for me, they thought I’d be a good fit and introduced me to their friend and frequent collaborator James Franco.

Could you talk about your collaboration with James Franco?

Dave Porter and James Franco

I really enjoyed working with James, and his enthusiasm for the project was infectious. His level of preparation for everything related to the film was absolutely next level, which is immediately clear once you’ve seen him onscreen as Tommy. James and I, along with producers Seth Rogen, Evan Goldberg, Alex McAtee, James Weaver, and picture editor Stacey Schroeder, spent most of our time discussing the tone of the film, which has to walk a very thin line…and the music plays a big role in that. The easy route would be to use the score as a means to make fun of these guys, or be overly foreboding in the knowledge that this was all going to turn out disastrously — but that was never the film James wanted to make. Finding that tonal balance was a process of trial and error, but ultimately I think we found a way to get to where we wanted to be — using the score as a thread that binds Tommy and Greg together and supports them throughout the film on their unique journey — viewing it all from a higher vantage point and highlighting their common struggle and then ultimately their success. When they are apart, the music tells differing stories, but whenever they are together, we connect those moments through the score. In fact, I believe the single repeated melodic theme throughout the film … written for guitar, bass and orchestra… is only used when they are together on screen, which was intentional.

Were you inspired at all by previous films, and scores about self-styled auteurs with the best of intentions, a la “Ed Wood?” And did you try to meet any of the original “Room” people?

No, I didn’t because I really felt like this film was unique… and also current. I’ve had some friendly conversations with Greg Sistero, and I credit his book as the bible that I followed throughout my creative process. For me, his viewpoint of the story is the most interesting and in some ways the moral backbone of the film. If you end up enjoying “The Disaster Artist,” by the way, I highly recommend reading Greg’s book — for all the crazy shit that is in the film, the film only has time to squeeze in a small fraction of what’s in the book.

How important was it for you to play the mindset that Tommy Wiseau was setting out to make the greatest movie ever, even if that’s certainly not what came out?

I do think it was important to underscore and appreciate how much Tommy believed in himself — even when no one else did – and how much he accomplished all by himself. His drive and confidence are the most important factor behind “The Room” — both its failures and successes.

Given that Tommy is a mystery in many respects, and has put on a great front with “The Room,” how important was it for the score to find the “real” person in him?

My hope is that the score is able to both heighten the mystery surrounding Tommy and also truly empathize with him — for me that very mystery and the strange mixture of being both shy and bold makes him all the more human. We were all able to follow James Franco’s lead in illustrating that Tommy is a complicated and multi-faceted person…. like all of us.

There’s also a primal, drumming vibe to whenever Tommy is trying to “act.” How do you think that showed his “process,” especially when he’s freaking out on the set?

I did use a lot of percussion in the scenes where Tommy is auditioning and doing his best to be a good actor – particularly when those scenes were ultimately humorous. Percussion can have the wonderful ability to be less emotionally judgmental than melodic instruments, which was part of my reasoning. The other was that I was trying to instill a sense of futility and frustration… that literal banging of one’s head into the wall that everyone who has ever tried to do something creative has felt.

Do you think your use of the strings imparts a necessary seriousness to the score?

An orchestra is a wondrous and powerful thing, but I very much believe that power is overused in a lot of film and TV scores. I think there is a sense that it is required to add “seriousness” or credibility when in fact it can easily overwhelm. I love writing for orchestra, but in some cases –“Breaking Bad” and “Better Call Saul” for example, it simply isn’t the best creative choice. But if there was ever a movie that could support an orchestra, it is “The Disaster Artist,” which after all is the most Hollywood of Hollywood stories. My goal was to try to recreate the sweeping scale and emotion of the classic Hollywood film scores through a more streamlined and modern sounding score… and only an orchestra would do.

What did you think of Mladen Milicevic’s score for “The Room,” and did you want to capture any of its spirit here?

The score from “The Room” appears briefly during the premiere screening and again during the side-by-side “making of” comparisons at the end because in those moments we wanted to be authentic to the original film. I didn’t reference it in my own score. I wanted them to sound distinct, because the score of “The Disaster Artist” is telling a different story than that of “The Room.” Keeping them distinct did play into some of my orchestration decisions —- I avoided using piano in my score, for example, because it is featured in the original.

Could you relate to Tommy and Greg trying to make it in Hollywood?

I absolutely can. I had been struggling for many years before any success came my way, have had many highs and lows, and stumbled into roadblocks that made me want to quit. But I didn’t. And success, when it did come, came from a path I never expected…. and I’m sure that’s true for many of us.

In your own life, have you come across composers similarly deluded about their own talents, especially after you’ve watched a screening where the movie, and music was less than brilliant?

Yes. Me.

I’m a big fan of “Preacher.” Could you talk about scoring such a gleefully heretical show? And how do you expect to play God when he shows up?

I’m glad to hear that. It is such a brave show, and such a hard show to create, that I’m always gratified when folks are drawn into it. Obviously, it isn’t for everyone. But for those who can wrap their heads around it, it’s an amazing ride. In terms of the score the greatest challenge to “Preacher” is simply that there aren’t any rules or constraints… and in fact the more unexpected the better. That challenge is why I love it so much and also why it is sometimes so daunting to work on. As far as a score for God goes, we’ll have to see… but I can guarantee it won’t be harps and boy’s choir. That wouldn’t be “Preacher.”

Do you think it’s ironic that a good score, and film can be made from one of the most hilariously awful films of all time?

Not at all. There is no success without failure, and whatever I’ve learned about scoring films and television I’ve learned by making mistakes. I’ve been fortunate enough to work with some terrific talents who understand that and allow for it in the creative process.

How do you hope that “The Disaster Artist” would help you break into features with the same success you’ve found on television?

If you had asked me when I was 15 years old what I wanted to be doing I would have told you I wanted to be scoring films. Anything else would be merely a stepping-stone to that pinnacle of the craft. Now, of course, the landscape has changed greatly. I’ve been fortunate enough to work on television shows that are the envy of most films, and the level of craftsmanship between the two mediums is no longer different. I will always love scoring great television dramas, and like most of the composers of my generation I relish the unique challenges and the creative variety of working in both mediums. Hopefully I’ll be lucky enough to continue to do so.

In a way, do you think your score, and “The Disaster Artist” has retroactively helped make “The Room” better? Would you hope that “The Disaster Artist” reaches the cult popularity of people throwing spoons at it? Or is it just too good for that?

I think “The Disaster Artist” will help make “The Room” better understood, and will certainly bring a new audience to it. I don’t believe that “The Disaster Artist” will be a cult film – quite the contrary. From the screenings I’ve attended it has all the makings of a film that will be broadly enjoyed, both by diehard fanatics of “The Room” and those who don’t know anything about that film. And that’s a great testament to the brilliance and hard work of James Franco, the entire cast, and everyone else who invested themselves so passionately into the project. The response has been very gratifying, and I feel very fortunate to have been a small part of it.

“The Disaster Artist” opens on December 1st, with Dave Porter’s score available soon on WaterTower Music.

Go “Breaking Bad” with Dave Porter HERE as he calls Saul HERE, then goes dancing with “Flesh and Bone” HERE and puts himself on “The Blacklist” HERE

Visit Dave Porter’s website HERE

Categorieën: Filmmuziek nieuws

NEWS: Discovery Channel to Release 'Manhunt: Unabomber' Soundtrack

Soundtrack News - Vr, 01/12/2017 - 01:00
Discovery Channel will release the [a.22112]Manhunt: UNABOMBER – Original Series Soundtrack[] on December 15th. The soundtrack features original music by composer [c.3204]Gregory Tripi[] ([m.49816]Rememory[], [m.39039]The Knick[] additional music). "When [director] Greg Yaitanes and I began discussing the music for [m.50147]Manhunt[], there wasn't any temp track or decisions made other than going in an electronic direction," explained Tripi. "Greg had been a big fan of the music that [c.124]Cliff Martinez[] and I did for [m.39039]The Knick[], so he and the music supervisor, [c.4049]PJ Bloom[], approached me about doing the show." "The face-to-face meetings between Sam Worthington and Paul Bettany (FBI agent Fitz and The...

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Categorieën: Filmmuziek nieuws

Audio: Interview with Alexandre Desplat

Film Music Magazine News - Wo, 29/11/2017 - 02:10

ON THE SCORE is sponsored by La-La Land Records

Since his international breakthrough score for “Girl with a Pearl Earing,” Alexander Desplat has painted memorably melodic portraits of impossible love from “Birth” to “The Curious Case of Benjamin Button” and “The Danish Girl.” But Frenchmen are ever the romantics when it comes to pairing unlikely soulmates, especially when they happen to be a mute, American washwoman and an Amazonian Gilman. Mix their obsession with France’s amour of aquatic music, and you just might hear the Oscar-winning composer’s wondrously romantic, and not just a little bit scary achievement at giving magical form to “The Shape of Water”.

Desplat has his own perfect filmmaking partner in Mexico’s Guillermo Del Toro, a visually ravishing director hopelessly captivated at digging into audiences’ primal love of the monstrous outsider with the likes of “Hellboy,” “Pan’s Labyrinth” and “Crimson Peak.” In a career spent making characters fall head over heels for demons and ghosts, “The Shape of Water” now unleashes his sympathy for these misunderstood outsiders like never before. It’s a decidedly adult, and carnally fulfilling fairy tale that Desplat bathes in his country’s unmistakable language of love, creating utterly gorgeous themes of whimsy, sensuality and heartbreak that are as perfect a fit for Paris as they are an heroine’s Hollywood-fed dreams in the dangerous, spy-filled reality of America’s Cold War. It’s in a facility’s lagoon lab in which she finds the creature of her dreams, their growing bond communicated with such musical elements as whistling, dark suspense, heartbreaking tragedy and lush, sweeping strings that all conjure beauty and the beast like never before.


Now on a new episode of “On the Score,” Alexandre Desplat reveals the alchemy of the year’s most unlikely, romantic score for “The Shape of Water,” as well as talking about his twisted period take on the human monster land of “Suburbicon” and taking his symphonic talents to deliriously fun heights alongside “Valerian & The City of a Thousand Planets.”

Click above to Listen Now or Click Here to Download

Buy the Soundtrack: THE SHAPE OF WATER Buy the Soundtrack: SUBURBICON Buy the Soundtrack: VALERIAN & THE CITY OF A THOUSAND PLANETS Visit Alexandre Desplat’s Website
Categorieën: Filmmuziek nieuws

NEWS: Grammy Nominations Announced

Soundtrack News - Wo, 29/11/2017 - 01:00
The nominations for the 60th Annual Grammy Awards were announced today. The nominees in film music related categories are as follows: Best Song Written for Motion Picture, Television or Other Visual Media: "City Of Stars" - [m.43740]La La Land[] Songwriters: [c.2205]Justin Hurwitz[], [c.3472]Benj Pasek[] & [c.3473]Justin Paul[] "How Far I'll Go" - [m.42413]Moana[] Songwriter: [c.1885]Lin-Manuel Miranda[] "I Don't Wanna Live Forever" - [m.43704]Fifty Shades Darker[] Songwriters: [c.] Jack Antonoff[], [c.]Sam Dew[] & [c.]Taylor Swift[] "Never Give Up" - [m.45859]Lion[] Songwriters: [c.]Sia Furler[] & [c.13082]Greg Kurstin[] "Stand Up For Something" - [m.48246]Marshall[] Songwriters: [c.14721]Common[] & [c.]Diane Warren[] Best Score Soundtrack for Visual Media:...

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Categorieën: Filmmuziek nieuws

NEWS: Weekly Roundup: November 24

Soundtrack News - Za, 25/11/2017 - 01:00
Announced this week were new composer assignments for [c.58]Danny Elfman[] ([m.39880]Dr. Seuss' How the Grinch Stole Christmas[]), [c.827]Heitor Pereira[] ([m.49328]Smallfoot[]) and [c.2159]Matthew Margeson[] ([m.51037]Truth or Dare[]), among many others. For the full list of composer and music supervisor assignments from this week, [url./composers/]click here[]. Over 25 new soundtrack albums were released this week. [da.2017-11-21]Click here for the full schedule[]. Opening in theaters nationwide this week is (with music by): [m.41886]Coco[] ([c.534]Michael Giacchino[]). Expanding nationwide from its limited release last week is [m.47736]Roman J. Israel, Esq.[] ([c.151]James Newton Howard[]). Among all new theatrical releases, we are tracking song credits for: -...

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Categorieën: Filmmuziek nieuws

NEWS: Weekly Roundup: November 17

Soundtrack News - Za, 18/11/2017 - 01:00
Announced this week were new composer assignments for [c.200]Howard Shore[] ([m.51062]The Catcher Was a Spy[]), [c.274]Harry Gregson-Williams[] ([m.49858]Early Man[]) and [c.1742]The Newton Brothers[] ([m.48861]Extinction[]), among many others. For the full list of composer and music supervisor assignments from this week, [url./composers/]click here[]. Over 40 new soundtrack albums were released this week. [da.2017-11-14]Click here for the full schedule[]. Opening in theaters nationwide this weekend are (with music by): [m.41976]Justice League[] ([c.58]Danny Elfman[]), [m.44395]The Star[] ([c.1154]John Paesano[]) and [m.46723]Wonder[] ([c.1061]Marcelo Zarvos[]). Among all new theatrical releases, we are tracking song credits for: - [m.44395]The Star[] (15...

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Categorieën: Filmmuziek nieuws
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