Filmmuziek nieuws

NEWS: Milan Records to Release 'Spell' Soundtrack

Soundtrack News - 9 uren 6 min geleden
Milan Records, an imprint of Sony Music Masterworks, announces the November 1 release of [a.26954]Spell (Original Motion Picture Soundtrack[] with music by chart-topping singer, songwriter, musician and member of Fall Out Boy [c.22364]Patrick Stump[]. Available for preorder now, soundtrack features music from Crush Pictures' award-winning, darkly comedic psych-thriller, with Stump's original compositions capturing the emotionally driven narrative. Also premiering today is the soundtrack's lead offering "Deep Blue Love," a soulful, blues-tinged ballad performed by Stump and recorded exclusively for the project – listen here. [m.56880]Spell[] made its prize-winning debut at last year's LA Film Festival and will premiere in theaters...

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Categorieën: Filmmuziek nieuws

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

Soundtrack News - Zo, 20/10/2019 - 02:00
Fox Music/Hollywood Records releases the digital original motion picture soundtrack to [m.55572]Jojo Rabbit[], which was directed, written, produced by and stars Taika Waititi. [c.534]Michael Giacchino[] composed, produced and conducted the music for [m.55572]Jojo Rabbit[], which was recorded in London. The soundtrack includes three score cues alongside classic tracks performed in German from The Beatles, Roy Orbison and David Bowie, as well as songs from Ella Fitzgerald, Tom Waits, Love and more. The [m.55572]Jojo Rabbit[] soundtrack and score album are available today at streaming and download services, as the film opens in U.S. theatres.     Waititi brings his signature style of humor and pathos to his latest film, [m.55572]Jojo...

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Categorieën: Filmmuziek nieuws

NEWS: 'Maleficent: Mistress of Evil' Soundtrack Released

Soundtrack News - Za, 19/10/2019 - 02:00
Walt Disney Records releases [m.53092]Maleficent: Mistress of Evil[] digital soundtrack featuring score by Emmy Award-winning composer [c.1271]Geoff Zanelli[]. The soundtrack also features the end-credit song, "You Can't Stop the Girl," performed by Warner Records recording artist Bebe Rexha. The soundtrack is available today from Walt Disney Records as the film opens in U.S. theaters nationwide. Director Joachim Rønning brought [c.1271]Geoff Zanelli[] on board to write the music. The composer sees his music score as the element in a film that bridges the space between the screen and the audience. "That is true in any movie, really, but especially with fantasy movies where the film relies on the audience being able to suspend their...

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Categorieën: Filmmuziek nieuws

Interview with Michael Giacchino

Film Music Magazine News - Vr, 18/10/2019 - 19:53

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

Listen to Michael Giacchino’s scores HERE

Visit Michael Giacchino’s website HERE

Categorieën: Filmmuziek nieuws

NEWS: Milan Records Announces 'Looking for Alaska' Soundtrack Album

Soundtrack News - Do, 17/10/2019 - 02:00
Milan Records, an imprint of Sony Music Masterworks, announces the October 18 release of [a.26907]Looking for Alaska (Music from the Hulu Series)[] - available for preorder now. The album includes music from Hulu's newest original limited series, produced by Josh Schwartz and based on John Green's bestselling novel. Set in 2005, the series features music specific to the early 2000s era, carefully curated by Schwartz and music supervisor [c.3859]Alexandra Patsavas[] as a sonic companion to the show's coming-of-age narrative. The nostalgia-inducing repertoire includes much-loved tracks from Bloc Party, The Strokes, José González, Rilo Kiley, Clap Your Hands Say Yeah and Modest Mouse, as well as newly recorded covers of the era's...

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Categorieën: Filmmuziek nieuws

NEWS: Entertainment One to Release 'Jay and Silent Reboot' Soundtrack

Soundtrack News - Di, 15/10/2019 - 02:00
Entertainment One ("eOne") is excited to announce the CD & digital release of [a.26672]Jay & Silent Bob Reboot – Original Motion Picture Soundtrack[], on November 1, 2019 at physical and digital retailers everywhere. The 26-track soundtrack features 13 dialog clips as well as 13 musical tracks, including Moby Rich, Nappy Roots, REO Speedwagon, P.M. Dawn, the tenth, Mary Born and more. Director Kevin Smith executive produces, while [c.5306]Amine Ramer[] serves as music supervisor and producer of the collection. [m.56185]Jay & Silent Bob Reboot[] is an all-new, 2019 American comedy film written, directed, edited, and starring Kevin Smith. Referring to his 2001 comedy [m.12984]Jay and Silent Bob Strike Back[], Smith has described the...

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Categorieën: Filmmuziek nieuws

NEWS: Weekly Roundup: October 11

Soundtrack News - Za, 12/10/2019 - 02:00
Announced this week were new composer assignments for [c.91]Mark Isham[] ([m.55336]Bill & Ted Face the Music[]), [c.2589]Jon Ekstrand[] ([m.54791]Morbius[]) and [c.1480]Henry Jackman[] ([m.52974]Jumanji: The Next Level[]), among many others. For the full list of composer and music supervisor assignments from this week, [url./composers/]click here[]. Over 35 soundtrack albums were released this week. [da.2019-10-08]Click here for the full schedule[]. Opening in theaters nationwide this week are (with music by): [m.51288]The Addams Family[] ([c.257]Mychael Danna[] [c.652]Jeff Danna[]), [m.50002]Gemini Man[] ([c.1465]Lorne Balfe[]) and [m.56292]Jexi[] ([c.630]Christopher Lennertz[] & [c.9371]Philip White[]). We are tracking song credits for the following new...

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Categorieën: Filmmuziek nieuws

NEWS: WaterTower Music Announces 'Joker' Soundtrack

Soundtrack News - Za, 05/10/2019 - 02:00
WaterTower Music has announced the digital release of the Original Motion Picture Soundtrack to Oscar-nominated filmmaker Todd Phillips' film [m.53148]Joker[], which centers around the director/co-writer/producer's original vision of the infamous villain, indelibly portrayed by three-time Oscar nominee Joaquin Phoenix. The film, which had its world premiere at the Venice Film Festival and won the Golden Lion (Best Film) Award, is now playing in theaters. The [m.53148]Joker[] soundtrack album features an original score by Emmy Award-winning composer [c.7675]Hildur Guðnadóttir[] ([m.52612]Chernobyl[], [m.50261]Sicario: Day of the Soldado[]), whose composition features the cello as the centerpiece of the score, leading string-based...

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Categorieën: Filmmuziek nieuws

Interview with Hildur Guðnadóttir

Film Music Magazine News - Za, 05/10/2019 - 00:18

Make no mistake that Icelandic composer Hildur Guðnadóttir doesn’t like a good, purely happy laugh. In fact, she charmingly lets out more than a few of them in an interview. But when it comes to channeling her inner musical spirit, the tone tends to be anything but a happy face. Instead it’s often the rising, nerve-jangling sound of sinister chaos, channeling hostages aboard a tanker in “A Hijacking,” the grim mission of drug kingpin assassin in “Sicario: Day of the Soldado,” and an inevitable awful death form the radiation of her Emmy winning score to “Chernobyl.” Using such instruments as cello, warped samples and nuclear reactor metal, Guðnadóttir’s entrancing, modernistic scores often seem like the relentless countdown to an explosion that wants to watch the world burn. Now, she finds an exception partner in feel-bad crime with “Joker,” Todd Phillip’s critically acclaimed and increasingly controversial take on the Clown Prince of Crime.

Set in a Batman-free zone of an uncaring Gotham, this ultra-real origin story finds its antihero in the downtrodden, already imbalanced mother’s boy Arthur Fleck (Joaquin Phoenix). He just wants to be loved, but as yet another figure that life relentlessly steps upon, Fleck’s comic desires will of course turn to iconically outfitted vengeance. It’s a psychotic pilgrim’s progress that Guðnadóttir tracks with somber cello and ticking clock percussion, the chamber-like orchestra gradually twisting in the dark knife. Yet “Joker’s” score isn’t so much about evil being born as it is about nervous sympathy for the jester of the hopelessly downtrodden.

As much of a spare modernist as her late collaborator Jóhann Jóhannsson, and as boundary-pushing as such female composing compatriots as Mica Levi (“Under the Skin”), perhaps the biggest surprise in these cards is that Guðnadóttir’s “Joker” isn’t quite as crazy as its character. Given a poignantly unhinged theme, the score’s inevitability has yearning, tragic melody that matches the 70’s cinematic grit that Phillips is saluting. If anything “Joker” comes across like a descendant of God’s Lonely Man that Bernard Herrmann scored in “Taxi Driver,” the orchestra of an urban avenger mostly stripped down for his hurt and angst. Guðnadóttir’s percussion is equally striking, coming across as the rumble of what turns into a terrifying subway ride. As an inevitable plunge into comic book movie’s heart of laughing darkness, “Joker” rips any notion of such source material to gleefully nihilistic shreds as Hildur Guðnadóttir paints an Impactfully disturbed portrait of a super villain as a gravely wounded human being, one destined to bring Gotham a world of pain in retribution.

When someone says “comic book movie” and “comic book score,” what immediately comes to your mind?

I think the comic book films of the last few years have been pretty action driven, so I think you’d traditionally think of some sort of action score. But we went as far in the other direction with this score as possible. So there’s not a lot of that kind of “action” in it.

“Joker” is definitely more of an interior, and unusual film in that genre. While you’ve certainly dealt with this kind of dark, psychological territory before, its “Hangover” director Todd Phillips hasn’t. What was your collaboration like in that respect?

filmmaker Todd Phillips (photo by Sam Jones)

Well, it was wonderful and really quite the effortless. He contacted me about a year and a half ago me and asked me if I was interested in the film, which I of course was. The Joker is quite a fascinating character to get to, to work with. Todd then sent me the script and asked me to write music based on the feeling I got from reading it. “Joker” struck me as being about this inner landscape of a person that’s going through quite a lot of discoveries and turbulence. There’s quite a lot of changes that his character has throughout the course of this film.

Was a lot of the score already done before the movie started shooting?

Yes. All of the main themes were pretty much written. As I composed from the script, Todd was quite happy with the direction I was taking. He thought it was exactly the story he wanted to tell, and was surprised by how accurately I had captured its tone. So they ended up using quite a lot of the music as they were shooting. Joaquin would have an earpiece that he could hear it with. So a lot of the pace and choreography of the scenes was informed by the music. It was a really wonderful way of working in a way that drew all of the movie’s elements together very organically.

What was the, the final film like for you to watch versus what you imagined it would be?

It was actually really close to how I saw it being filmed. Of course there are a lot of changes that happen in the process of re-writing, shooting and editing. But the feeling from the original script was really there.

The score in its way reminds me of Bernard Herrmann’s “Taxi Driver,” in that there’s this brooding quality that builds to the antihero’s explosive, violent epiphany of his true identity. Do you think you approached “Joker” in that way?

Yes, absolutely, because the film is very much linear as he discovers things from his past that explains the issues that he has. He becomes more angry and aggressive as that forms. So the score follows his inner turbulence as it develops.

There’s a very “thin” quality to your score that has a chamber music quality to it. Could you talk about your orchestration?

The score is kind of led by the cello, which I perform. Yet the music also feels surprisingly symphonic, as the cello is carried by a hundred-piece orchestra throughout the film. I wanted this feeling of energy to be coming from behind him, like a feeling of his past he doesn’t know about, yet is still influencing him. So the orchestra is kept in the background in the beginning of the score. And as Arthur realizes more and more about his past, the orchestra steps forward. It becomes more and more aggressive as the score gets bigger and bigger.

The strings strike me as sounding weirdly exotic.

I think that’s just my style, so it doesn’t sound exotic to me! (laughs). But I guess it’s “exotic” maybe in the way the strings sound very intimate and up close.

One especially interesting cue is “Bathroom Dance,” which is the only time in the score that you brig in voices.

It’s one of the first pieces of music that I wrote, and is the main theme for the Joker. It accompanies a scene where he’s dancing to this song, exactly as you hear it. Joaquin told me that listening to that music was a big turning point for finding his way into the character. The first time we hear the Joker’s theme is only with strings, but when we hear it with voices it really “steps up” the score. I think that was the point of using voices for the only time.

When people think of the Joker, they think of his laughter. How did you want to capture Joaquin’s distinctive take on that trademark?

I was pretty, careful not to be influenced by any of the Joker’s previous appearances or the music that accompanied him. I think you’re much more creative when you steer clear of outside influences like that when you’re working. I thought that Joaquin did a really good job with his laughter, so I didn’t think that I needed to “follow” that. That element was best left to him. Mine was hearing what was happening inside of the Joker’s head.

The percussion during the film’s big subway scene sounds like a train as well.

It was very important to me that the percussion in the score was never “cool.” I didn’t want it to be over-complicated, because Arthur’s character is so simple and straightforward. He’s almost naïve. So the percussion follows that with a two-note pattern you hear at the beginning of the film. They repeat throughout the film, and keep the same kind of structure, but get louder and louder.

Given a “comic book” movie where the character is anything but heroic, how important was it to invest the Joker with a feeling of sympathy?

That actually came really easy to me because I had a lot of sympathy for him from the beginning of reading the script. Arthur has the essence of being a very good person. But he’s unfortunately had a very troubled life. He’s an outcast from society who’s genuinely trying to make people happy. But he doesn’t understand why people can’t connect to him. That’s something that I have a lot of, lot of sympathy for, so it was natural for to me to connect to him.

Do you personally relate to Arthur?

photo by Antje Jandrig

What he goes through isn’t something that I’ve experienced myself. But you see it everywhere, in any city that you go to. You see the homeless and the troubled that have a hard time fitting into the boxes that society has decided. It’s something that’s quite present all around us, and I think it’s something that we should pay attention to, because it’s very real life situation for so many people.

Do you think one reaction to “The Joker” would be for the audience to be more sympathetic to those outsiders?

I don’t know if that’s the purpose of the movie, but I think it’s definitely something that stayed with me about it. It shows that we shouldn’t just turn a blind eye to it. “Joker” does quite a good job of raising that subject.

You’ve written some truly insane experiment scores. But what’s surprising about “Joker” is that the music is fairly melodic, especially in the finale. How “far out” did you want to go here?

I think “Joker” is actually the most “classical” score I’ve written. It is very melodic, and follows a film score structure with the development of themes we hear again and again. I think the movie is an homage to films from the 70’s and 80’s. It’s old school in that way. So we wanted to keep elements of old school scoring in the soundtrack as well, which is why we took that thematic approach. Yet there are also weird elements for sure! So there is an experimental quality as well.

Were you expecting your music for “Chernobyl” to have the Emmy-winning impact that it did?

No. I was absolutely not expecting it. When I was finishing the series, I was quite certain that no one would ever want to listen to the music because it was really quite bizarre. It wasn’t easy listening! So I was very surprised.

How do you think “Chernobyl” pushed the boundaries of what kind of surprisingly accessible music you could have on television?

“Chernobyl” is a very real story that affected thousands and thousands of people who are still alive today. They’ve lost family members, and are suffering through illnesses. It’s a very important story that’s relevant today. So it was important for the music to be based on fact. I went to the power plant in Lithuania where the series was shot and recorded hours and hours of sounds from it. They ended up becoming the building blocks of the score, which turns the power plant into a musical instrument. I think that might have been a direction that a few people might have been afraid to go in because there’s been an aversion to having the music being too close to the sound design. That’s something I heard after the score came out, where they called it musical sound design. But I think that’s an outdated way of thinking. As sound design becomes more and more present, I think it’s even more important for the music to work together with it. I think it’s important to marry them in whatever story you’re telling. “Chernobyl” is a series where the music is very specialized because it’s about radiation. And you can’t physically see that. So it was important for the music to be the radiation, which is a unique sound to me. But of course, “Joker” is a fictional story where you have more space to create a musical world without having to base it on fact.

You strike me as being a very nice, gentle woman and mother. So where does your talent for so often expressing toxic masculinity come from?

Hildur at the Emmys – photo by Thomas Mikusz

Well, nice moms definitely have their darker sides too! (laughs). I think I’m normally a joyful person who likes to laugh a lot. But I think my darker side gets to go loose at work. It’s better for my family that it comes out there!

After “Joker” and “Chernobyl,” would you want to score a truly happy movie?

I guess that would be a bit hard for me because my music tends to be a bit on the darker side. But yeah. Why not? It would be an interesting challenge.

“Joker” opens on October 4th, with Hildur Guðnadóttir’s score available on WaterTower Music HERE

Listen to “Chernobyl” HERE, and Hildur’s soundtracks HERE

Visit Hildur Guðnadóttir’s web site HERE

Categorieën: Filmmuziek nieuws

NEWS: Walt Disney Records to Release 'Frozen 2' Soundtrack

Soundtrack News - Di, 01/10/2019 - 02:00
Walt Disney Animation Studios' upcoming feature film [m.49218]Frozen 2[] features a stunning soundtrack, including original songs from Oscar- and Grammy-winning songwriters [c.7076]Kristen Anderson-Lopez[] and [c.3238]Robert Lopez[], original score by Grammy nominee [c.564]Christophe Beck[], and end-credit artists Panic! At The Disco, Kacey Musgraves and Weezer.The [m.49218]Frozen 2[] soundtrack, set for release from Walt Disney Records on Nov. 15, 2019, is now available for digital pre-order, pre-save at Spotify and pre-add at Apple Music. The [m.49218]Frozen 2[] vinyl cast songs soundtrack, [m.49218]Frozen 2[] score album and [m.49218]Frozen 2[] digital deluxe soundtrack are also available on Nov. 15. [m.49218]Frozen 2[] opens in...

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Categorieën: Filmmuziek nieuws

NEWS: Milan Records Announces 'Euphoria' Soundtrack Album

Soundtrack News - Za, 28/09/2019 - 02:00
Milan Records, an imprint of Sony Music Masterworks, announces the October 4th release of [a.26787]Euphoria (Score from the HBO Original Series)[] with music by chart-topping, multiplatinum-selling artist and producer [c.28006]Labrinth[]. Available now to preorder, the album features score music from the first season of the hit HBO series and marks [c.28006]Labrinth[]'s first-ever project as lead composer. Written and recorded in close collaboration with the show's writer Sam Levinson, his original compositions feature prominently throughout the series as a sonic companion to the show's angst-driven narrative. The resulting 26-track collection is a genre blending mix of gospel, soul and electronic influences, indicative both of...

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Categorieën: Filmmuziek nieuws

Interview with Gabriel Yared

Film Music Magazine News - Vr, 27/09/2019 - 02:34

Photo by Peter Cobbin

When it comes to a beautifully unabashed celebration of feminine angst, perhaps no composer speaks the universal language of proudly met ill fate than Gabriel Yared. For where some Hollywood composers might fear to tread into pure melody in the service of characters who resonate with passion, Yared’s scores like “City of Angels,”” “Autumn in New York,” “Cold Mountain” and “Amelia” storm musical emotion as if it was the beach in Normandy – or in the case of Judy Garland a nightclub in England that represents her last shot at a professional comeback, let alone gaining the funds for the impossible wish of having her children again be part of her life in a trunk.

The Lebanese-born composer first revolutionizing the sound of electronic scoring in France with the likes of “Moon in the Gutter,” “Betty Blue” and “Invitation au Voyage,” “Betty Blue.” Over the decades, he’s shown his distinctive voice with any number of styles, from scores that sing with surreal poetry (“Map of the Human Heart”) exotic sensuality (“The Lover”), romantic angst (“Possession,” “By the Sea”) modernistic madness of iconic artists (“Camille Claudel,” “Vincent & Theo”) and even the terror of Stephen King (“1408”).

But it’s Gabriel Yared’s work with the late director Anthony Minghella that has swept away American audiences with the tragic rapture that brought him an Oscar for “The English Patient” and nominations for “The Talented Mr. Ripley” and “Cold Mountain.” With actress Renée Zellweger receiving acclaim in that film for playing a Civil War survivor in that film, fit’s a near guarantee that Yared’s music will aid in her getting an Oscar nomination for her portrayal of “Judy’s” little girl lost, her road to ruin paved by the yellow brick road of her terrible treatment as a child star by MGM’s distinctly un-fatherly boss Louis B. Mayer.

Where he’s swooningly played emotion over desert sands and battlefields, Yared’s approach to “Judy” is more introspective, if no less moving. His memorable wounded bird theme hears the surface niceties of a star gliding on her accolades with a thankfully genuine, if self-deprecating and sometimes self-destructive attitude. It’s the deceptive, lush music of waltzing through what everyone around her thinks is a charmed life. Yet there’s a hollow, eerie sound that flashes back to Garland’ oppressed studio past that was determined to paint her as a portrait of teen wholesomeness without any intent of letting her actually be a young woman. With subtle jazz elements to land her on a London nightclub stage which she’d be just as happy to run off, Yared uses haunting, delicate piano and strings to hear a delicate woman, while also getting across the let’s-put-on-a-show strength that lets Judy find her beloved voice in her most desperate hour. As one of Yared’s most sympathetic scores, “Judy” is music that becomes a simultaneously fragile, and tough legend at the kind of twilight hour that the composer captures so well.

After starting out as a lawyer, what made the significant career shift into composing?

Actually, I only studied law for two out of the four years necessary to graduate, so I never had a job as a lawyer. I was born in a family where there were no artists whatsoever, but I knew from my early childhood I was born for music. My parents considered music as just a hobby, so they forced me to study anything else. I chose law, as the university was just next to the Jesuit cathedral where I could play the organ. So instead of studying law, I studied all of Bach’s repertoire for organ! In 1969, I went to Brazil just for 15 days and stayed there for two years, which is where I started working as a composer and a self-taught orchestrator.

What do you look at in a film, or director, before deciding to take on a project? And why do you think they seek you out?

What I enjoy most about writing for film is firstly meeting with a director and establishing a real relationship and connection with them. This relationship is exactly like a marriage, where you firstly get to know someone, before getting engaged and then eventually you get married. For example, I was fortunate to find a soul mate in Anthony Minghella. I very much enjoy getting to know people before watching their images, and often both aspects compliment each other. When a director talks to me, they spark my interest in the film, and the film itself makes me more interested in the director and what they are trying to express. As for why they seek me out, it must be because I have my own style. I got on immediately with “Judy’s” director, Rupert Goold. He is currently the artistic director at the Almeida Theatre in London, and he is very refined and musical. There was always an understanding between us, and it was a very rewarding collaboration.

Gabriel Yared at Abbey Road Studios (photo by Peter Cobbin)

Do you think your early work for such iconic singers as Charles Aznavour and Johnny Hallyday made you especially suited to score Judy Garland and a film dealing with her London stage show?

I don’t think so. Although I orchestrated for these singers, it was only ever for songs and not for stage shows.

Did you have any affinity for Judy Garland and her singing career before scoring “Judy?”

Yes, I knew about her and her life, and so I definitely had an affinity for her and felt close to her. I have always been attracted by her destiny, and so I love her story as well as her voice.

What do you think Renée Zellweger’s performance brings to your score?

Photo by David Hindley Courtes

Renée’s performance brings so much to the film, and of course to my score. She is completely amazing and inspiring. All parts of a film compliment each other, whether this would be the acting, direction, cinematography, costumes, set design etc. So, as Renée is so brilliant, this makes every aspect of the film stronger, fortunately including my music!

I started working on the music after the film was shot, and so particularly watching Renée’s performance and personality greatly helped me in composing and finding the right tone for the film. Renée also brought so much to the film and score when I worked on “Cold Mountain.”

Was it important to play the inner strength that Judy draws on to perform?

Absolutely. For example, there is a scene where Judy is backstage, and she is trying to find the courage to go out and perform. For this scene I wrote a piece for orchestra and choir that gradually builds to its climax when she goes on stage, reflecting this inner strength.

Tell us about creating “Judy’s” main theme? Why give it a waltzing quality as such?

In fact, I didn’t write the main theme as a waltz. The original theme was in a minor key, much slower, and in 4/4 instead of 3/4. Since there is only one main theme in this film, I used this “waltz” version for a specific scene, called “Judy Gets Ready”. This is where Judy is getting dressed and her makeup is being done, and everything is very choreographed like a dance. I transformed the original main theme into a major-key waltz to reflect this, and make the scene much more uplifting.

Could you identify with the kind of doubt, if not anguish that Judy Garland goes through here to get herself on stage?

Of course. Although I am probably quite experienced in composing, I always feel like a beginner when I start writing music for a film, ballet, song or anything. Very often I am anxious about not being able to find the right path. Nothing is more difficult than going into this quest to search and write the best possible music I can, and this is something that makes me worried and anxious.

You have a talent for scoring psychologically conflicted, and ultimately doomed heroines in movies like “Judy,” “Betty Blue” and “Sylvia.” Are you drawn to these characters, and do you think there an approach that links these scores together?

No, I am not necessarily drawn to these characters, but quite often I am put in a ‘pigeon-hole’ in the sense that the films I end up working on sometimes have these “doomed heroines” (or heroes). I love all kinds of films, including dramas, comedies and animations, and I have scored many of these in the past. Of course, it is not uncommon to be known for a particular ‘style’ of film or music, but for me I love to be eclectic and so I try to work on as many genres of film as possible.

You started off as a distinctive electronic composer with “Invitation Au Voyage.” How was it for you to become adept at your beautifully lush orchestral style?

I may have started writing as an electronic composer, but only because I was interested in this at the time (and I still am today). However, I was also able to write for orchestra. If I decided to write more electronic scores for “Invitation Au Voyage” and Jean-Luc Godard’s “Sauve qui peut la vie”, it was because these sounds expressed the themes of the film in the best possible way, and that this kind of score suited the film much more than a traditional orchestral palette would.

For me, technology and synthesizers are always great tools for composing. I started using the Kurzweil sampler very early on in 1979, sampling short excerpts of ethnic music from vinyl, and using these sounds alongside my orchestral palette of strings, woodwinds, brass etc. Also, I was probably one of the first people to use the Fairlight, which I used for a film in 1981 called “Malevil.” My score for this film was a way for the company to sell the instrument to many great composers. Using samples really opens the mind, and allows a composer to break away from their normal habits of writing for more common orchestral instruments. As many composers have the same sample libraries, it is important to differentiate oneself by putting the same care into creating samples as one would in every other aspect of their work. Personally, I kept all the samples I created between 1979 and 1990, and I continue to create samples and synth sounds based on small extracts of my music. The result is that these sounds are completely unique, and become part of my musical world. I only use samples in addition to the orchestra, and both compliment each other. It is not about replacing the orchestral palette, in the same way that the orchestra cannot replace the sounds of synths or samples.

Photo by Laurent Koffel

How do you view yourself in the rich tradition of French-based composers working in Hollywood, a la Maurice Jarre, Georges Delerue and Alexandre Desplat?

I wouldn’t say that I am part of the French-based tradition of composers. I was born in Lebanon, and I lived in Brazil for a while, so I don’t consider myself just as a “French composer”. I’m also not based in Hollywood as I decided to follow a different path. This is especially because I like to be involved very early in the process of a film, and this becomes more difficult for Hollywood projects. Since I hardly ever work in Hollywood, I wouldn’t put myself in the same category. Maurice Jarre was a great friend to me. After winning the Oscar for “The English Patient”, I got back to my hotel very very late. I was at the bar, celebrating, and suddenly the barman gave me the telephone. It was Maurice Jarre on the other end, who introduced himself and said that he was calling all the hotels in Los Angeles to find me and to congratulate me. We then became very close friends until the end. Alexandre Desplat is a good friend too.

How has the “Hollywood” experience of working on such scores as “City of Angels” and “Message in A Bottle” differed from your experience at scoring French films?

     

It was not so different, and it was a very good experience. Of course, in Hollywood you have the means and budget to hire many more musicians, record more music and to take your time in recording sessions, however my approach has always been the same.

Do you think that European cinema, and stories set overseas have an affinity for a thematically rich, symphonic approach that Hollywood might not?

For me, it’s the film that dictates the musical approach and score it requires, rather than whether the production is based in Europe or in Hollywood.

You scored the documentary “Born in Syria” about the war’s refugees. In that respect, how does your Lebanese heritage continue to play a part in your life and how your music can shine a light on what’s happening in the Middle East?

I didn’t write the music specifically for this documentary, as the music was taken from one of my old scores and reused. I would say that I don’t have a very strong Lebanese heritage, as I haven’t lived there for most of my life. I discovered Arabic music very late at the age of 30, only after having studied Arabic classical music. We are all made of many influences, and of course, my Lebanese heritage must be in my blood, but my music is made up of many other influences, for example Bach, Ravel, and Bartok. My Lebanese heritage has certainly played a role for me the last few years, though, as I have been producing and composing songs for a great singer called Yasmina Joumblatt, who sings in Arabic and writes the lyrics. I have already released four of these songs digitally.

Criterion will soon be releasing the “integrale” version of “Betty Blue” in America. What’s your recollection of a score that helped put you on the international map?

I worked with Jean-Jacques Beineix very closely, and I started to write the music well in advance of the shooting. Because of this, I was able to meet with the actors, cinematographer, and of course the director. My music was influenced by all of these meetings and by the script. I composed and demoed all the music before the shooting, which is why I feel the score and the film are so intrinsically linked. The whole film crew knew the music as they were shooting the film, including the actors.

Music Box Records has been putting out expanded scores of yours like “Moon in the Gutter,” “The Lover” and “Camille Claudel.” What’s it like for you to hear these soundtracks again, and are there any in your repertoire that you’d like to see get a similar treatment?

I am pleased that these expanded scores are being released! I work in such a way that anything I write and send to a director I am completely happy with, so I would like for any of my scores to get a similar treatment. It’s great that the listeners have the chance to hear to these scores, including some tracks that didn’t end up being used in the final film. Personally, I don’t tend to listen to my own music.

What kind of effect do you think winning the Oscar for “The English Patient” and your subsequent nominations have on your creative process, and career? And do you think the regard that “Judy” is getting will see you get nominated again – or possibly winning?

Even after winning an Oscar, this did not change my humility when it comes to composing music. So on this side, it doesn’t change my creative process. As for my career, I didn’t feel the need to stay in Hollywood as one could always work on an American film from Europe. Also, I didn’t want to get trapped in writing for one style of film, especially as after “The English Patient”, many people wanted me to be a specialist in these kinds of epic and tragic romantic films. I would be thrilled to be nominated again for “Judy.” I am very conscious that I wrote the most beautiful music I could for this film, and if the Academy voters have a chance to listen to it, perhaps I might have a chance!

In America, you’re most renowned for your romantic talents. But is there a style, or genre you’d like to explore more of that people might not necessarily think of you for?

The genre or style of music I write is secondary, as it depends on what the director and I feel would elevate the film in the best possible way.I hope that audiences listen to my music separately, not only when they watch a film. I also think that if audiences and especially directors were able to listen and discover my lesser-known film scores, maybe they would understand my eclectic style, and perhaps I could score even more interesting projects, and a wider range of film genres.

In the end, would you describe “Judy” as being both an affectionate, yet tragic score?

Yes, I think this a very accurate description!

“Judy” opens on September 27th, with Gabriel Yared’s score digitally available on Decca Records October 11th.

Find Gabriel Yared’s French scores on Music Box Records HERE, and his soundtracks HERE

Buy the Criterion’s blu ray of “Betty Blue” HERE

Visit Gabriel Yared’s website HERE

Categorieën: Filmmuziek nieuws

NEWS: Max Richter Shares First Single from 'Ad Astra' Soundtrack

Soundtrack News - Za, 21/09/2019 - 02:00
Acclaimed composer [c.1746]Max Richter[] embarks on a journey 'To The Stars' as he unveils his first single from the forthcoming soundtrack to Brad Pitt's eagerly-anticipated new movie, [m.50578]Ad Astra[]. The track is released on Friday 20th September via Deutsche Grammophon, to coincide with the film's release in cinemas the same day. A sci-fi thriller set in the future, [m.50578]Ad Astra[] stars Brad Pitt as an elite astronaut who travels to the outer edges of the solar system to find his missing father and unravel a mystery that threatens the survival of our planet. His journey will uncover secrets that challenge the nature of human existence and our place in the cosmos. [c.1746]Max Richter[]'s ambitious score, informed by...

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Categorieën: Filmmuziek nieuws

NEWS: Benjamin Wallfisch Signs with The Gorfaine/Schwartz Agency

Soundtrack News - Wo, 18/09/2019 - 02:00
The Gorfaine/Schwartz Agency, Inc. (GSA) is delighted to announce the signing of Golden Globe-, BAFTA-, Grammy- and Emmy-nominated composer [c.1354]Benjamin Wallfisch[] for worldwide representation, in partnership with London-based agency COOL Music Ltd. Recognized as one of the leading Hollywood composers of his generation, Wallfisch recently scored [m.50651]It Chapter Two[], which just held its box office position as #1 film in the world for its second weekend, and is also known for his scores for critically acclaimed movies [m.41981]Shazam![], [m.45794]Blade Runner 2049[] (with [c.237]Hans Zimmer[]) and Academy Award Best Picture nominee, [m.44626]Hidden Figures[]. A recent Emmy nominee for his score for Nat Geo's...

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Categorieën: Filmmuziek nieuws

NEWS: Madison Gate Records Announces 'Groundhog Day: Like Father Like Son' Soundtrack

Soundtrack News - Di, 17/09/2019 - 02:00
Madison Gate Records announces the release of [a.26719]Groundhog Day: Like Father Like Son (Original Soundtrack)[], featuring music from the upcoming Sony Pictures Virtual Reality game by the same title. The album includes original score by prolific gaming composer [c.1528]Cris Velasco[], an original song titled "Sarah Everyday" written and performed by [c.1528]Cris Velasco[] and David Feldstein, and a collection of songs featured in the game, including "I Got You Babe" by Sonny & Cher, "Lonely Friday Night" by The Blossoms and "Shagpile Shuffle" by Orchestra Heinz Hötter, among others. The album releases digitally on Tuesday, September 17 and is available now for pre-order on iTunes. Commenting on his experience working on this...

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Categorieën: Filmmuziek nieuws

NEWS: Nicholas Britell, Ramin Djawadi & Hildur Gudnadottir Win Big at Emmy Awards

Soundtrack News - Ma, 16/09/2019 - 02:00
The Academy of Television Arts & Sciences announced the first winners of the 2019 71st Emmy Awards. Some of the highlights are as follows: Original Main Title Theme Music: - [m.53114]Castle Rock[] ([c.149]Thomas Newman[]) - [m.44784]Crazy Ex-Girlfriend[] ([c.17045]Rachel Bloom[], [c.17046]Jack Dolgen[] & [c.2719]Adam Schlesinger[]) - [m.53004]Good Omens[] ([c.5]David Arnold[]) - [m.53319]Our Planet[] ([c.1974]Steven Price[]) - WINNER: [m.51034]Succession[] ([c.4631]Nicholas Britell[]) Outstanding Music Composition for a Series (Original Dramatic Score): - [m.50202]Barry[] – What?! – [c.1750]David Wingo[] - WINNER: [m.32647]Game of Thrones[] – The Long Night – [c.1065]Ramin Djawadi[] - [m.33760]House of Cards[] – Chapter 73 – [c.674]Jeff Beal[] -...

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Categorieën: Filmmuziek nieuws

NEWS: Weekly Roundup: September 13

Soundtrack News - Za, 14/09/2019 - 02:00
Announced this week were new composer assignments for [c.1069]Dario Marianelli[] ([m.56609]The Secret Garden[]), [c.1784]Dustin O'Halloran[] & [c.15056]Hauschka[] ([m.56611]A Christmas Carol[]) and [c.16682]Mark Korven[] ([m.56604]In the Tall Grass[]), among many others. For the full list of composer and music supervisor assignments from this week, [url./composers/]click here[]. Over 35 soundtrack albums were released this week. [da.2019-09-10]Click here for the full schedule[]. Opening in theaters nationwide this week are (with music by): [m.51185]The Goldfinch[] ([c.22750]Trevor Gureckis[]) & [m.55449]Hustlers[] (No score). We are tracking song credits for the following new theatrical releases: -[m.51185]The Goldfinch[] (20 songs) -[m.55449]Hustlers[] (56...

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Categorieën: Filmmuziek nieuws

NEWS: Milan Records to Release 'Seis Manos' Soundtrack

Soundtrack News - Za, 14/09/2019 - 02:00
Milan Records, an imprint of Sony Music Masterworks, announces [a.26676]Seis Manos (Music from the Netflix Series[] with music by Grammy Award nominee [c.1767]Carl Thiel[] ([m.40421]From Dusk Till Dawn: The Series[], [m.48477]The Teller and the Truth[], [m.33945]Sin City: A Dame to Kill For[]). Available Friday, October 4, the soundtrack features music from the Netflix original anime series, which makes its debut on the streaming platform Thursday, October 3. "I'm so grateful to Powerhouse Animation, VIZ Media and Netflix for giving me the opportunity, the freedom and the support to create the musical landscape of [m.56596]Seis Manos[]," says composer [c.1767]Carl Thiel[] of the soundtrack. "It is definitely the most expansive...

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Categorieën: Filmmuziek nieuws

Interview with Tim Wynn

Film Music Magazine News - Do, 12/09/2019 - 00:36

From “A Quiet Place” to “10 Cloverfield Lane,” movie theaters have become fortified houses amidst an apocalyptic future. Inside of their boarded-up structures, people are taught to fear what lurks outside world under pain of death. Children longing for escape can only create their own magical worlds. For “Freaks,” its adolescent Chloe (Lexy Kolker has been relentlessly warned by her beyond-fearful Dad (Emile Hirsch) to stay out of sight, particularly from the truck of Mr. Snowcone (Bruce Dern) – lest her appearance and the power she holds within instantly lead to their destruction. As Chloe longs for any kind of connection, composer Tim Wynn weaves a lovely, haunting spell that conjures her mother (Amanda Crew) and the friendships with girls her age that she so desperately wants – all while building to a breakout into a vastly threatening world.

“Freaks” continues to show the expanding abilities, and visibility of composer Tim Wynn, who brings a striking combination of emotional intimacy, hybrid musical powers and high flying orchestral might to this singularly impressive co-writing and directing effort from Zach Lipovsky and Adam B. Stein (“Mech-X4,” “Kim Possible”). With its story calling to mind an even more nightmarish spin on “Heroes,” this team puts their distinctly impactful, metaphoric spin on the genre’s re-invention of meta-humans and a villainous world of outclassed humans trying to contain them at any cost. Wynn has been a long working, stylistically diverse composer in the fields of videogames (“Command & Conquer,” “The Punisher,” “The Simpsons”), indie films (“To Save A Life,” “Superfast!” “McKenna Shoots for the Stars”) and television (“Lucky Seven,” “Tokyo Patrol,” “Wolfpack of Reseda”). But it’s his ability to turn from the brotherly bond of the cult series “Supernatural” to get inside the headspace, and heart of a oppressed girl that shows his breakout cinematic potential like never before. With “Freaks” impressive and memorable thematic structure, Wynn shows his own ability to capture an ever-surprising and emotionally captivating thriller with a distinctive musical signature, conjuring a sense of wonder and might in finding one’s true voice – no matter how helpless it might seem at first.


Tell us about your musical background and what intrigued you about scoring?

Growing up, I think my interest in music came from endless hours of experimenting on the family piano. I would start by writing short melodies and then improvising three-note chords underneath. I was very interested in music theory and how music “worked”. When I was 10, I started to take guitar lessons and began to seriously consider, as much as a 10-year-old can, a future in music. I formed rock bands in High School, where we would play my original songs and a few covers. At High School, I was extremely fortunate to meet Dr. Ralph Opacic, the future director of Orange County School of the Arts. In my senior year, he established OCSA and I was asked to be one of its founding members. Dr. Opacic saw my rabid interest in music and introduced me to the session guitar player and producer Mike Ferenci.

For three years Mike mentored me in guitar, music production and composition. That’s where I first discovered scoring. We would re-write the music to scenes for films and TV. I was amazed by how much the music could control the emotion of a scene. And how the lack of music would alter the story in profound ways. I knew this is what I wanted to do but I didn’t know how I could do it. After High School, I went to Junior College. I enrolled in music theory and production classes, excited to learn new things. There I met Rose Ann Wood, a fantastic music composition and theory teacher. She saw something in me and recommended I try out for the film music program at USC. To get accepted at USC, I had to face a jury of Dr. Skip Lauridson, Dr. James Hopkins, Dr. Erika Muhl, and Dr. Frank Tichelli. To say I was nervous would be a great understatement considering I just had my first official panic attack minutes before entering. Luckily, I was able to pull it together and with Dr. Hopkins testing my ear training on the keyboard, I succeeded in being accepted to USC.

The main thing that led me to score films is I have always been inspired by the marriage between music and visuals. Some of my favorite classical composers (Debussy, Ravel, Holst) used their compositions to paint musical pictures and I was inspired to do the same. Scoring films seemed like a natural extension of this desire to help tell a story with my music.

What was it like studying with such composers as Elmer Bernstein, Christopher Young, and Jerry Goldsmith?

It was truly unbelievable. I am so thankful that I had an opportunity to learn from these legends that were responsible for so many of my favorite scores. You really can’t top an action cue by Goldsmith, or a comedy score by Bernstein and a horror score from Young and I got to study with them. And it wasn’t only their musical knowledge they shared. They taught me how to be a professional and how to handle the ups and downs of their careers. I was even there at Todd-AO studio when Elmer got fired. Unreal. I have always tried to incorporate their lessons into my music and my life.

How did your extensive video game work shape you as a composer? What game scores of yours have particularly stood out for you in that respect?

The scale of video game stories is in many ways identical to film. That’s what initially drew my interest to work on them. They allowed me to write music for these huge worlds and amazing stories. I think my experience writing video game scores allowed me to develop the more epic side of my writing style. Most of the video games I scored have so many in-game movies, it’s very much like scoring a film.

Some of my more notable video game scores would be “The Darkness II,” “Command and Conquer,” “Red Alert 3,” “The Punisher” and “XCOM 2.” But my favorite game experience was working on “The Simpsons” game and spending a week recording it at Skywalker Ranch. It was an experience I will never forget.

Do you think your stint on the giant robots of “Mech-X4” and the horrific menaces and brotherly bond of “Supernatural” helped set you up for “Freaks?”

I think you take something from each score you write but writing for feature films and episodic TV are two entirely different beasts. Probably the most important thing which I carried forward from my work on “Mech-X4” was my relationship with the future directors of “Freaks.” Musically the two were nothing alike but we laid the groundwork for our creative relationship. I learned how to translate what they wanted from the music. What they meant when they wanted a certain hit or sound. How they wanted music to help tell the story. Every director uses a different language to speak to a composer so most of that was out of the way when I started to score “Freaks.”

How do you think “Freaks” fits into the genre of films and score (both fantastical and dramatic) where parents and children are essentially trapped in a house by terrifying forces?

I have read that “Freaks” is being called a “genre-bending thriller”, and I think that’s an apt description. I don’t think that “Freaks” is any one genre and from my perspective that makes for powerful storytelling. The movie isn’t formulaic per se, but it shares the ingredients of those films while adding its own unique voice.

What’s it like to work with two directors, as opposed to one?

directors Zach Lipovsky and Adam B. Stein

For one thing, there are twice as many notes! Actually, it was great. They were both very secure in their vision for the music in “Freaks” and didn’t feel compelled to push their own view as the only right direction. There was an openness to explore all opinions that was refreshing for me. If you think about it, modern filmmaking always has multiple voices for the final approval, so for “Freaks” only having two masters was actually less than normal.

Was it important that “Freaks” would be a score that would work just as well as a relationship movie, sans its sci-fi aspects?

Yes, I think so. I didn’t want any one element to dominate more than the others, rather, I tried to use a multi-layered approach in telling the story. The score is mostly dramatic music with a sprinkle of sci-fi for effect.

Tell us about using music to convey as a little girl trapped in this kind of dark, fairy tale existence created by her father?

After experimenting with a few different instruments and sounds, I ended up recording an upright felt piano and a few processed bell sounds and scrapes to capture the mood. I had to create a delicate balance between scary and magical. I kept the melodies simple and the textures small. I wanted the sound to have a familiar but unique feeling.

How did you want to capture Chloe’s desperate need for love and companionship, especially with what might, or might not be her mother’s ghost?

I had to balance her feeling of emotion and isolation. Chloe wasn’t really sure what to make of her visions and it was scary for her. She wasn’t sure how real her visions were. So, when the mom’s theme starts on the piano, I kept a thread of uneasiness weaving through the melody. It allowed the theme to have the needed emotion but tell the audience that something isn’t quite normal.

Tell us about how you wanted to convey the male characters in the film? And what opportunities did Bruce Dern’s ice cream truck afford you?

At first, I wanted the viewer to sense danger. I didn’t want to give away the nature of their relationship too soon. Her dad (Emile Hirsch) and grandpa (Bruce Dern) are each trying to keep Chloe safe in their own ways. But at first, you aren’t aware of what their motives are. When it comes to the ice cream truck motive, I wanted to meld the traditional bells of an ice cream truck with a whimsical touch of the “Freaks” theme. It’s what draws Chloe out of her safe space and needed to feel magical, yet still scary. I guess you could call it “creepy fairytale”.

What are your main themes?

The score is dominated by “Chloe’s theme” and the “Freaks” theme. The other themes of importance are the “Sno Cone” theme for the Ice Cream truck and “Mom’s theme”.

Given that the beginning of “Freaks” takes place in Chloe’s house, was it important that the score open up her world so the film wouldn’t seem claustrophobic?

The directors and I actually wanted to keep it a little claustrophobic. I only used the upright felt piano and some sparse textures during those scenes. When she ventured outside, the score began to evolve and add motion. I started by adding instruments to the texture and melodically it started to get more complex. This gradually continued and by the end of the film, we ended up with a full orchestra.

How did you steadily want to reveal the clues of what the “freaks” are? And how did you want to respectively play their powers?

For most of the film, Chloe doesn’t really understand her special powers and how truly powerful she is. I was focused on her emotional journey and how each new discovery affected her. At first, she is unsure of herself and how to use her powers so along with developing her theme I had to keep an element of uneasiness. I also added a slight touch of wonder that occurs when she discovers that her father has the same powers as she.

How did you want to chart Chloe’s evolution from a completely trusting girl to one who asserts her own take-charge will?

Her theme starts by using bells and a solo piano to convey her naivety and wonder. As the story evolves, I start to add string quartet and pull back the bells. As her power increases, the size of the orchestra gets bigger and bigger. During the climax of the film, I started to use brass in the lower octaves to convey her power.

Did being a father of two daughters help emotionally put you into the story? And in some respects, could you identify with Chloe?

Absolutely. When I was writing I thought about how I would handle the same circumstances if I were her father. I could really identify with the feeling of trying to protect your child at all costs might not be the best thing for them. In many ways, children are going to be who they are. It’s our job as parents to nurture that.

“Freaks” has an interesting “hybrid” approach that mixes the emotionally ethereal with suspense and action. Tell us about the instruments you used. And what did their styles represent to you in merging their orchestral and electronic natures?

I used the piano, bells, and strings to signify Chloe’s emotional journey. As I mentioned before, as the story of “Freaks” develops I expanded the textures and size of the orchestra. The electronics were used mainly as a supporting texture for the backdrop of the film. I used them when I needed the audience to feel uneasiness or fear.

Having scored many independent films with both artistic and straight-ahead ambitions, what kind of musical “tricks” have you learned in the trade to make the movies seem bigger – especially in the case of a picture like “Freaks?”

I always like to approach any film from what’s the best way I can help tell the story. Big budgets, little budgets – it doesn’t really matter. As long as the composer makes the artistic decisions with the story in mind, the score will turn out great. With “Freaks,” the budget wasn’t really an issue or a focus. We started from the premise of what the film needed. The idea was to start sparse and small and when Chloe’s world got bigger so would the size and complexity of the orchestra.

How did you want to play the metaphoric aspects of “Freaks” – i.e. the lethal fear of the outsider?

If you look at the score for “Freaks,” the live instruments represent the character’s story arc and the electronic instruments represent the fear of the unknown. There is some crossover but that was how I approached it. The natural vs. the unnatural.

In the end, would you say that “Freaks” becomes a “superhero” score as such?

That’s a good way to describe it. Chloe’s story arc needed to have a big, energetic ending and the superhero vibe seemed to work. With her powers at maximum, it becomes the biggest statement of her theme and gives a nice ending to the movie.

What kind of path do you think your music might take should the story of these “freaks” hopefully continue?

I think it would be interesting to explore where their powers take them. Would they be used for good? Justice? Rebellion? So many places the story to go and I would love to help tell it.

What’s up next for you?

I have an interesting drama called “The Experience” being released in the winter and a comedy called “Later Days” that starts to shoot later this month. I also will be scoring the 15th and final season of Supernatural.

In the same way that “Freaks” is about the next evolution of man, how do you think that your approach shows the direction in which genre film scoring is going, especially having been taught in an “old school” tradition?

I think the approach of the film is not to stick to any one genre or be afraid of being a blend of a few. Focus on telling a story and let that define the genre rather than the other way around. “10 Cloverfield Lane” was a little like that. It didn’t necessarily fit in a little neat box. And that makes for a fresh approach to storytelling, as the audience doesn’t know what to expect next. “Freaks” and my score for it act in the same way. It’s a scary fairytale that has elements of horror with a bit of a superhero movie. You can’t ask for more than that!


“Freaks” opens in theaters and on VOD September 13th, with Tim Wynn’s score available on Movie Score Media HERE

Listen to Tim Wynn’s soundtracks HERE

Visit Tim Wynn’s Website HERE

Categorieën: Filmmuziek nieuws

NEWS: Weekly Roundup: September 6

Soundtrack News - Za, 07/09/2019 - 02:00
Announced this week were new composer assignments for [c.45]John Debney[] ([m.56540]Come Away[]), [c.534]Michael Giacchino[] & [c.17328]Mick Giacchino[] ([m.56542]Extinct[]) and [c.519]Craig Armstrong[] ([m.56541]Dirt Music[]), among many others. For the full list of composer and music supervisor assignments from this week, [url./composers/]click here[]. Over 35 soundtrack albums were released this week. [da.2019-09-03]Click here for the full schedule[]. Opening in theaters nationwide this week is (with music by): [m.50651]It: Chapter Two[] ([c.1354]Benjamin Wallfisch[]). We are tracking song credits for the following new theatrical releases: -[m.50651]It: Chapter Two[] (15 songs) -[m.56161]Blink of an Eye[] (1 song) -[m.55293]Ms. Purple[] (21...

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Categorieën: Filmmuziek nieuws
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