Clint Mansell‘s scores are often great pieces of work; his music complements films quite well, and many are excellent standalone artifacts. The only film to bear a Mansell score so far in 2013 is Stoker, which premiered at Sundance in January.
But Mansell has also done music for Filth, the Irvine Welsh novel adaptation that stars James McAvoy. You can get a sample of that below, along with info on the film Mansell will score after he finishes Noah for Darren Aronofsky. Read More »
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With a month to go until Alfonso Cuaron‘s latest film, Gravity, finally (and I do mean FINALLY) hits theaters, I personally have come to a breaking point. I’m done with looking at stills, trailers, or anything from the film until I finally see the movie. My anticipation for Cuaron’s space drama is so incredibly high, I don’t want anything to change that.
But don’t let my feeling influence you. If you’re still rabidly devouring all things Gravity, and I salute you for it, here’s a new taste that’s probably very sweet. A twenty minute sampling of the film’s score, written by Steven Price (Attack the Block, The World’s End), is now online. Listen below. Read More »
In the past decade, one man has been responsible for setting the mood for both Batman and Superman: Hans Zimmer. The Oscar-winning composer wrote (or co-wrote) the music for Christopher Nolan’s Dark Knight trilogy — Batman Begins, The Dark Knight (with James Newton Howard) and The Dark Knight Rises — as well as for Zack Snyder‘s Superman film, Man of Steel.
That puts the composer in a unique position, because the next DC film will be 2015′s Batman vs. Superman. It’ll take a character Zimmer has thoroughly explored and pit him against one he’s just starting to help voice. At a recent event, Zimmer was posed with the question about possibly scoring Snyder’s upcoming film and gave a very interesting answer. Read More »
The composer who worked on two recent Best Picture winners is taking a monstrous leap. Alexandre Desplat, the composer of scores for The King’s Speech and Argo, as well as for Moonrise Kingdom and both Harry Potter and the Deathly Hallows among others, will be writing the music for next year’s big budget remake of Godzilla. Read More »
A composer has been set for Marvel Studio’s August 2014 galactic adventure, Guardians of the Galaxy. Tyler Bates will write the music for the James Gunn directed film. Bates has worked with Gunn on his previous two films, Super and Slither, plus he’s also well-known for his work with Batman vs. Superman director Zack Snyder on films like Watchmen, 300 and Sucker Punch. We’ll next hear his work on the thrillers 7500 and The Sacrament. [The Wrap]
Below, read Gunn’s thoughts on the hire. Read More »
Pitch Perfect hit theaters in September of last year and, almost a year later, it’s even more popular than ever. The movie is playing non-stop on HBO, the cast appeared on the MTV Movie Awards, a sequel was put in the works, and Anna Kendrick‘s song, Cups, remains one of the most popular pop songs in the country. As fans patiently wait on the second film (rumored to be aimed at 2015) one of the cast members teased a project coming much sooner than that.
The cast of Pitch Perfect is working on an a cappella holiday album. Read More »
When Kathleen Kennedy took the stage at Star Wars Celebration Europe Saturday afternoon, fans were hoping to get some kind of official news about Star Wars Episode VII. She did not disappoint. Though the man himself had all but said it already, as did the director, Kennedy confirmed that one of the biggest parts of the Star Wars universe would return.
John Williams will write the music for J.J. Abrams‘ Star Wars Episode VII. But that’s not all. He’ll do Star Wars Episode VIII as well. And Star Wars Episode IX. Watch a video of Williams discussing the task below. Read More »
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Hans Zimmer and John Williams are probably my two favorite film composers of all time, so I was very keen to see how Zimmer would tackle the job of crafting a score for the new Superman film, Man of Steel. The soundtrack for the latter was suitably epic, and I actually think the way it’s structured says a lot about the themes of the film.
After the jump, you’ll find my thoughts on an excerpt from each score. I tried to point out patterns and elements in each track that I thought were important but I’m not particularly well-versed in musical theory so I’m open to your constructive feedback. If you disagree with my thoughts, feel free to put forward alternate explanations (e.g. just saying “you are reading too much into the music” does not add anything to the conversation). Have at it!
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