Typically it can be considered a slightly spoilerish endeavor to listen to a film’s score before the movie opens. But most of us are so familiar with what Howard Shore has done for Peter Jackson and Middle-Earth that a new batch of music is more like an extension of what has gone before than an entirely new set of cues. That said, the first Hobbit film was fairly distinct from the Lord of the Rings films, and some of the music for the second movie has it’s own character, too, even as familiar themes and concepts keep it grounded in Middle-Earth.
So while it is a couple weeks yet before the December 13 opening of The Hobbit: The Desolation of Smaug, you can spend the Thanksgiving holiday listening to 45 minutes from the score, as an embed has landed online. Read More »
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The band Broken Bells, aka Brian “Danger Mouse” Burton and James “the Shins” Mercer, makes very cinematic music. For a video to accompany new material the pair had a great idea. Burton took a story concept to Jacob Gentry (The Signal, My Super Psycho Sweet 16) and gave him the freedom to make an extended pair of shorts that effectively act as a music video for the album, rather than for any one song. (Gentry had previously done an earlier video for the band.)
The result is a two-part sci-fi romance starring Kate Mara (House of Cards) and Anton Yelchin (Star Trek, Only Lovers Left Alive), which uses music from the Broken Bells record ‘After the Disco,’ along with some material that is exclusive to these videos, as the score for the whole story. There are some classic sci-fi influences here, a nice little twist, and an emotionally affecting arc to it all. Check out both parts below. Read More »
Hopefully you’ve got 90 minutes of free time in the next couple days, and assuming that you do, bookmark this long talk about the emotional effect of music when paired with image.
“Art Of The Score” was put together by the World Science Festival and the New York Philharmonic, and is hosted by Alec Baldwin. He’s joined by Ethan and Joel Coen, their frequent collaborator Carter Burwell, and neuroscientist Aniruddh Patel. The topic in general is music and film scores, and the ways in which they create an emotional response in the audience.
The talk begins with the example of 2001: A Space Odyssey, and the fact that Alex North’s original score was shelved in favor of music that Kubrick had used as the temp track, including the well-known Richard Strauss composition ‘Also Sprach Zarathustra.’ But it goes a good bit deeper than that over the course of the hour-plus talk, from the neurological response to music, to the ways that musical influences can shape the direction or gestation of a film, and the ideas behind choosing music that conflicts with the image or scene, rather than directly complimenting it. Watch below. Read More »
Posted on Thursday, November 21st, 2013 by Angie Han
All movies have soundtracks. Some of them have really good soundtracks. Very few of them have soundtracks so exceptional, they’re able to inspire a concert and a subsequent documentary of their own. But leave it to the Coen Brothers to be that exception.
Their latest film Inside Llewyn Davis centers on a musician (Oscar Isaac) struggling to make it on the folk scene in ’60s New York. To complement that premise, T Bone Burnett has produced a killer soundtrack filled with performances by Isaac, Carey Mulligan, Justin Timberlake, Marcus Mumford, Punch Brothers, and more.
All of them plus a few more famous friends (including Joan Baez, Colin Meloy, Patti Smith, and Jack White) got together for a benefit show in New York City this fall, and Showtime is now releasing that one-night-only concert as a documentary. After the jump, check out a trailer for the network’s Another Day, Another Time, plus another new clip from the movie itself.
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T Bone Burnett has worked with Joel and Ethan Coen on the musical component to the brothers’ films a few times, starting as a “musical archivist” for The Big Lebowski, and most notably acting as producer for the O Brother Where Art Thou? soundtrack. That album became a hit in its own right, and there’s reason to expect that Burnett’s contribution to the Coens’ new film, Inside Llewyn Davis, will find a similarly warm reception.
The film is out on December 6, but you can listen to the soundtrack now. I’d understand wanting to wait to hear the music until the film opens, especially for the songs performed by star Oscar Isaac, but in reality the record stands on its own. There’s a mix of folk songs and traditional tunes here, and it’s a lovely set of tunes. Read More »
Hans Zimmer has inherited The Amazing Spider-Man 2 scoring duties from James Horner, and he’s going about the job in an unusual way. Zimmer isn’t just writing a score himself; he’s formed a supergroup of sorts to great the score.
Sony announced today that Zimmer and director Marc Webb are working with Pharrell Williams, Johnny Marr (The Smiths), Michael Einzinger (Incubus), and Dave Stewart (Eurythmics) on music for The Amazing Spider-Man 2. Read More »
Posted on Friday, October 25th, 2013 by Angie Han
It’s an extra-chatty edition of Sequel Bits, as everyone has a little something to say about everything. After the jump:
- A $500,000 camera has been stolen from Dumb and Dumber To
- The next Aliens game might be about Ripley’s daughter
- Peter Jackson chats about the score for The Hobbit
- Director thinks National Treasure could shoot in two years
- Dan Aykroyd is going on about Ghostbusters 3 again
- Keanu Reeves chats about Point Break and Speed
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Posted on Thursday, October 24th, 2013 by Angie Han
Arrested Development may not be a musical per se, like Smash or Glee, but it’s certainly contributed its share of catchy, earworm-y tunes to the pop culture landscape. What Bluth supporter doesn’t know the chorus to “It Ain’t Easy Being White” from Franklin Comes Alive? Or immediately think of Mark Cherry’s “Getaway” when they see the word “getaway”?
In that light, it shouldn’t be so surprising that the beloved sitcom is putting out a soundtrack, or that there are a whopping 42 tracks on it. To be sure, not all of them are full-length songs (the shortest is the 15-second “Mock Trial”), but collectively, they’re an entertaining reminder of the great work that composer David Schwartz has done on the series. Hit the jump for the full track listing.
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