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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This is my favorite news so far today: Clint Mansell will provide the score for Source Code, the second film from director Duncan Jones. Mansell is the composer who has worked on all of Darren Aronofksy’s films, and whose score for Jones’ debut feature Moon was a tremendous contribution to that film’s atmosphere. Read More »
Before Darren Aronofsky left the stage at the 37th Telluride Film Festival in the introduction of his new film, Black Swan, he apologized to the crowd: “I’m really sorry. I want to apologize for what’s about to happen… I didn’t know what I was doing…” With that he walked off stage and the lights went down. Aronofsky’s apology was directed at people like the older couple seated to my right. Maybe they were lured in by the star power of Natalie Portman, the story of a ballet dancer, or possibly because they loved that movie about the professional wrestler and the stripper. Whatever the reason, they had no idea what they were getting themselves into. And why should they? Black Swan is unlike anything I’ve ever seen before.
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We last reported on the grassroots campaign to earn Sam Rockwell an Oscar nomination for his… er… role in Moon back in October. “Sony Pictures Classics isn’t likely to put money into an awards campaign” said Peter at the time.
Today, Duncan Jones has been all of a Twitter about the matter and it seems there’s one big problem in particular with Sony’s plans for the picture. Unfortunately, it seems that Sony won’t send out screener copies as, according to a Tweet by Jones, “they say it costs too much for our little film as they would need to be water-marked copies as our DVD isn’t out yet in the US.”
A ludicrous argument, really, as the UK BD is region free and in plentiful supply, besides, they wouldn’t benefit from making watermarked copies where there’s already perfectly good non-watermarked copies out there to be pirated. Copyright thieves know no borders and will rob Jones, Sony and everybody else associated with the film from any source. It’s not like they’re waiting for an R1 NTSC copy.
So, what is Duncan Jones planning to do himself?
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At the very least, each of Clint Mansell’s movie scores strengthens the film it accompanies and at the very best, his music works extraordinarily both in the picture and as standalone listening. With Lux Aeterna, his most astonishing cue from the Requiem for a Dream soundtrack, he managed to write one of the most beloved, discussed and arguably overplayed pieces of film music in the medium’s entire history.
After a career in the band Pop Will Eat Itself, Mansell’s first two scores were for Darren Aronfosky‘s Pi and Requiem for a Dream, and he’s gone on to write the music for every one of Aronfosky’s films since. That will continue, unsurprisingly but still thankfully, with Aronfosky’s next movie, Black Swan.
If you’re not up on Black Swan, and perhaps know it only as the film where Natalie Portman and Mila Kunis are going to have an ‘intense’ bedroom scene, we’ve done our best to cover all news about the film here at /Film. Some good holiday time reading for you there.
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