Even if it’s been many years since you’ve seen Requiem for a Dream, director Darren Aronofsky‘s gut-punch of a movie, you can probably hear the film’s most famous piece of music in your head if you read the words “Lux Aeterna.” That catchy, eerie song comes courtesy of composer Clint Mansell, and since Requiem for a Dream is celebrating its 20th anniversary this year, the Kronos Quartet has reconvened (in a socially-distanced setting, thanks to the pandemic) to bring that haunting tune back into the forefront of your mind once again. Check it out below. Read More »
For more than twenty years, Clint Mansell has created beautiful and artistically daring scores for a wide variety of films. His work on Darren Aronofsky’s Requiem for a Dream remains one of the most haunting scores of this millennium, and his other credits – from Moon to Stoker to The Fountain and Black Swan – represent a depth and sophistication that’s rare in an era in which many scores are little more than background noise.
Mansell previously collaborated with director Ben Wheatley on High-Rise, and now he’s re-teamed with the filmmaker for Rebecca, a new adaptation of Daphne du Maurier’s gothic romance novel. His score is one of the best parts of the entire film: it captures the unease of Lily James’ main character and builds a moody, occasionally eerie foundation for the mysteries of the story. We spoke with Mansell about creating new music in the shadow of Alfred Hitchcock’s Best Picture-winning 1940 adaptation, using “the devil’s instrument” as part of the score, how he infuses music with emotion, and more.
We’re also happy to premiere a full track from Mansell’s Rebecca score, so immerse yourself in a spooky atmosphere while reading the interview by pressing play below. Read More »
Clint Mansell, one of the best movie score composers working today, lends his considerable talents to the Out of Blue soundtrack. In the film, Patricia Clarkson plays a homicide detective investigating the murder of an astrophysicist and black hole expert. The case ends up taking Clarkson, and the audience, into unexpected places, and Mansell’s score reflects that perfectly. We have an exclusive track from the Out of Blue soundtrack below.
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Writer-director Duncan Jones‘ new movie, Mute, has been a long time coming. “I’ve finally got this boulder up the hill,” he told us with a laugh and a sense of relief. The filmmaker behind Moon, Source Code, and Warcraft originally envisioned his bleak, surprisingly old-school sci-fi mystery as his directorial debut, but the project faced its share of challenges over the years.
When you see the movie, it’s easy to understand why. Mute certainly isn’t a middle-of-the-road film or a story that plays it safe. The movie is a real nasty piece of work at times, but it’s also not without a sense of perverse fun and beauty. After sixteen years of Jones trying to get Mute made, the end result is a packed-to-the-brim science fiction noir that feels like it’s been waiting to be unleashed for a long time.
We recently spoke with Jones about the project’s history, his affinity for Blade Runner, twisting Paul Rudd’s nice guy image, and more.
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Duncan Jones‘ passion project, the sci-fi film Mute, has finally arrived on Netflix – but was it worth the wait?
Our Mute review answers that question below.
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At the very least, perhaps we can expect the upcoming Ghost in the Shell to be mostly pleasing to the eyes and ears. Director Rupert Sanders has exhibited a sharp eye in his commercial work and even his underwhelming directorial debut, Snow White and the Huntsman, looked great. Accompanying Sanders’ high-tech futuristic eye candy is a score from none other than Clint Mansell (Moon). Their work hand-in-hand could be quite an experience on the big screen. Whether the movie is as good as some of the talent involved, including the film’s star, Scarlett Johansson, we’ll know next week.
In the meantime, we can watch this new Ghost in the Shell clip, which showcases an action scene from the film.
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Posted on Tuesday, November 15th, 2016 by Angie Han
Ghost in the Shell has no shortage of stunning visuals, which is no surprise considering it’s directed by Rupert Sanders. (Say what you will about Snow White and the Huntsman — and I’m personally of the opinion that it is not a very good movie — but it at least looks really pretty.) And now it sounds like we can expect some fine music to go along with it. Clint Mansell, the composer behind Requiem for a Dream, Black Swan, Moon, Stoker, and many more great-sounding films, has been confirmed to score Ghost in the Shell.
Of course, none of this will do much to address the ongoing controversy over the decision to cast a white actress (Scarlett Johansson) to lead an adaptation of an iconically Japanese property. But producer Avi Arad sounds like he’s not too concerned about those accusations of whitewashing anyway. According to him, everyone he’s talked to thinks the casting choice is “great.” Read More »
Posted on Wednesday, September 21st, 2016 by Jack Giroux
Mute has been a longtime passion project for Duncan Jones. The director wanted to make the Berlin-set sci-fi film, which he co-wrote with Michael Robert Johnson, his directorial debut, but it got put on hold for Moon. Still struggling to get Mute financed, Jones then made Source Code his sophomore effort. Then he went on to direct Warcraft. But before his video game adaptation opened in theaters, it was announced Alexander Skarsgård and Paul Rudd would star in Mute. The two actors will enter Berlin circa 2046 soon because Duncan Jones’ film finally begins shooting next week.
Below, learn more about Mute.
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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 »