I’ve gone on the record about not being a particularly big fan of Warcraft, but that doesn’t change the fact that I still believe in Duncan Jones. After all, how could you possibly write off the man who made Moon and Source Code? And for its many faults, Warcraft is still a work of passion that is too weird to be dismissed completely.
So I’m choosing to look to the future and toward Mute, the science fiction noir Jones has been teasing since 2009, when it was supposed to be his sophomore feature. Although this project isn’t an a direct sequel to Moon, it is apparently set in the same near-future world. So of course Jones would re-team with composer Clint Mansell, who wrote the score for Moon.
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There’s no trailer for Ben Wheatley‘s High-Rise, seemingly in part because there’s isn’t a firm release plan announced in the UK, and no US distributor. We’re waiting eagerly for news of the film’s theatrical release. In the meantime, however, we’ve got two new High-Rise images showing Jeremy Irons, Tom Hiddleston, and Elisabeth Moss as they appear in the film.
And while images of Hiddleston’s character that we’ve seen in the past (like the one above) made the guy look like his life is pretty together, this new shot shows him in a different place. And then there’s a shot of Irons which is a bit mysterious, even ominous. Read More »
Everything we’ve heard about High-Rise, the new film from Ben Wheatley, which adapts the novel by J.G. Ballard, has me dying to see this one. Tom Hiddleston and Luke Evans (above, as seen in the film) lead the cast in a story about class warfare in a high-rise apartment block. From what we’ve heard from people who saw sales footage in Berlin, this one might be totally insane. Now the film has a very promising musical component, as Clint Mansell has been announced as the creator of the High-Rise score. Read More »
We’ve got two great scores for you to check out in full this week. One is a score you’ve probably been excited to hear: Clint Mansell‘s Noah score, marking one more collaboration between the composer and director Darren Aronofsky. The other is Mica Levi‘s great and at times unearthly score for Under the Skin, the Jonathan Glazer film starring Scarlett Johansson. They’re very different pieces, with Mansell’s score going appropriately big at times, but also more complimentary in the end than you might expect. Read More »
I’ve been a fan of director Darren Aronofsky since I first saw Pi. His film Requiem for a Dream remains one of my favorite movies of all time. Aronofsky has yet to make a movie I have dislike; his last few films were all in my top ten films of those respective years. Over the last decade, Aronofsky has become attached to a bunch of big budget projects including the films that later became Batman Begins, Watchmen, The Wolverine and Robocop. I’ve been itching to see what Aronofsky could accomplish with a larger budget. Noah is that film. Read my Noah review after the jump.
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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 »
Who might be one of the villains in Guardians of the Galaxy? Where could Josh Trank‘s Fantastic Four reboot be shooting? Want to see even more deleted scenes from The Avengers? What can you do to be part of Captain America: The Winter Soldier? How does Flash fit into a new Justice League animated movie? Where in the world is Robert Downey Jr.? And which major composer stopped by the Marvel Studios offices? Read about all this and more in today’s Superhero Bits. Read More »
Oldboy director Park Chan-Wook makes his English-language debut with the thriller Stoker, featuring Nicole Kidman, Matthew Goode, and Mia Wasikowska. The Hitchcockian film seems to illustrated a creepy triangle of infatuation and manipulation that develops in the Stoker family when a mother (Kidman) and daughter (Wasikowska) are caught in the thrall of Uncle Charlie (Goode), who arrives in town in the wake of the death of his brother, the Stoker patriarch.
Trailers for the film have looked good, and now we’ve got a full track excerpted from the score. Clint Mansellcreated the music for the film, and you’ll recognize his sound right away. Hear that track after the break, followed by a video of M83 recording a back and forth drum battle that will be part of the score for an action scene in Oblivion.
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You might consider it a given that Clint Mansell would score Noah for Darren Aronofsky, as the two have a long-established working partnership that is beginning to resemble the creative marriage between Joel and Ethan Coen and Carter Burwell. In fact, “marriage” is exactly the word Aronofsky uses to describe his work with both Mansell and frequent cinematographer Matty Libatique.
During a filmmaking master class given at the Marrakech Film Festival, Aronofsky recently talked about his entire career, and confirmed that Mansell will score Noah. In doing so he also talked about the nature of his work with the composer, and the quotes are not the boilerplate “we work well together” stuff we hear from most directors. Read More »