It’s not a proper trailer — in fact, this is one of those irritating footage presentations on Entertainment Tonight where the talking heads yammer over the top of scenes from a film. But it is the first footage from Stoker, which marks the English-language directorial debut from acclaimed South Korean filmmaker Park Chan-wook, responsible for Oldboy, Sympathy for Lady Vengeance, and Thirst.
What we see here sets up the story: Nicole Kidman is mom to Mia Wasikowska, and after the death of Mia’s father, her uncle Charlie (Matthew Goode) comes to visit, and some sexual power games begin. The Hitchcockian overtones are obvious (“Uncle Charlie” being a carryover from one of Hitchcock’s most praised films, Shadow of a Doubt) but the camerawork and style are all Park, and Kidman looks like she’s giving her best work in a while. Read More »
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When you’ve got the director of Oldboy making an intimate vampire film, you know the score will be as important as the lead actors. In the case of Park Chan-wook‘s English-language debut, Stoker, that certainly seems to be the case. He’s recruited Clint Mansell to score the film, which stars Oscar-winner Nicole Kidman and Alice in Wonderland herself, Mia Waskiowska, in the story of a girl and her mother who, after the death of the father, reunite with his mysterious brother, who is rumored to be a vampire. Hence the Bram Stoker-influenced title.
Mansell is best known for his work with Darren Aronofsky on Requiem For A Dream, The Fountain, The Wrestler and Black Swan but he’s provided memorable music for films like Moon and Smokin’ Aces too. Read more after the jump. Read More »
Many many years ago, when he was part of the band Pop Will Eat Itself, Clint Mansell was no stranger to the stage. But in the years since he has become a man who primarily scores films, his live appearances are few and far between.
That changes in 2012 as Mansell, with the Sonus Quartet, will play two LA shows timed to promote the release of the music for Massy Tajedin‘s film Last Night. The performances won’t feature only that score; they’ll also include pieces of his scores for Darren Aronofsky’s films such as Requiem for a Dream and The Fountain, and hopefully from the score for Duncan Jones’ film Moon.
More info is below. Read More »
Hip hop has appropriated a lot of stuff from movies over the years: score samples, sound effects, dialogue. It’s all fodder. (RZA and The Wu Tang Clan are the most obvious examples, thanks to RZA’s heavy reliance on martial arts films.)
Now Richard Rich and Max Tannone have created Selene, an EP that is heavily derived from Duncan Jones‘ film Moon and the wonderful score to the film by Clint Mansell. Check it out after the break. Read More »
Clint Mansell is among the best film composers in the business, having recently added yet another masterful score to his name with the cheekily bombastic, disorienting Black Swan. That was his latest in a long line of contributions to the films of Darren Aronofsky, having previously worked on The Wrestler, The Fountain, Requiem for a Dream and Pi. He also imparted Duncan Jones’ Moon with a haunting ambiance that still sits with me to this day.
These films have ensured that Mansell will always have a place in history, but now it appears his legacy will extend beyond film. He’s revealed that he’ll be providing the score for Mass Effect 3, the conclusion to Bioware’s action role-playing game series. Apparently the developers were in need of a composer with a true sense of the cinematic to close out their sweeping epic. And Mansell is just the guy for it. Learn more after the break. Read More »
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In early November, Summit Entertainment invited us to the editing room of Source Code, the second feature from Moon director Duncan Jones. During the visit, Duncan showed us the first 7 minutes of the film, and answered a bunch of questions from myself, Collider and FirstShowing. After the jump you can read the entire interview, and watch a very short video blog I recorded with Frosty from Collider.
Keep in mind, a lot has happened since this visit. It’s a whole new year for one, a trailer was released which shows a lot of plot elements Jones would only hint at during our interview (and much of which we had not seen at the time), and composer Clint Mansell is no longer scoring the project (you will notice a couple questions and answers about Clint’s score in the interview).
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What is Page 2? Page 2 is a compilation of stories and news tidbits, which for whatever reason, didn’t make the front page of /Film. After the jump we’ve included 46 (!?!) different items, fun images, videos, casting tidbits, articles of interest and more. It’s like a mystery grab bag of movie web related goodness. If you have any interesting items that we might’ve missed that you think should go in /Film’s Page 2 – email us!
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The score of a film is its beating heart. Music subtly, or sometimes not so subtly, juxtaposed with visuals can do almost anything from create tension, elicit themes, set tone, link scenes or raise goosebumps. Without music, most films are a cold, dead fish. That’s why the Oscar for Best Original Score is such a big award. Many times, the film that wins Original Score will take home several other awards because great music can make a director, editor and even actors look better.
Now, four of the films expected to have strong showings on Oscar night have had their mute buttons pressed. The scores from The Fighter, Black Swan, True Grit and The Kids Are All Right were all deemed ineligible by the Academy of Motion Picture Arts and Sciences. Read the reasons and implications after the jump. Read More »
Clint Mansell is one of my favorite film composers working today, and has been since hearing his first work on Darren Aronofsky’s Pi. His incredible score for Requiem for a Dream has been re-purposed in countless trailers and commercials over the years. He has continued to work on Aronofsky’s projects over the years and his Tchaikovsky-inspired score for Black Swan is nothing less than brilliant.
Mansell’s work on Duncan Jones’ feature big screen debut Moon was met with acclaim as well, and I was very excited to hear what Clint had up his sleeves for his second Jones collaboration, on the film Source Code. I had even heard a bit of early music Mansell created for the opening credits while on a visit to the editing room. But it appears that it was not meant to be. Clint Mansell will not be scoring Source Code after all.
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