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 »
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 »
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 »
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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 »