I saw some fairly long sections of the film, read the script, and just wrote loads of music. I tried to write to the scenery, and the story rather then specific “themes” for characters. It's not really the kind of narrative that would suit that. It was all about the underlying menace in the film, the greed, and that against the fucked up, oppressive religious mood—and this kid in the middle of it all. Only a couple of the parts were written for specific scenes. I was happier writing lots of music for the film/story, and having PTA [Paul Thomas Anderson] fit some of it to the film.
"And with Mad Max, I was able to do everything on my own: play the guitars, play the bass and the drums because I play all of those instruments and I lived through that musical style, too, back in the 90s.”
John Carpenter's iconic score for the movie manifested from a female critic's negative review after screening the film: that it wasn't scary. At the time, there was no music in the film whatsoever. Carpenter then composed the fully-improvised score in three days.
Post by The_Cake_of_Roth on Oct 25, 2018 22:16:48 GMT
The opening shot of TWBB is one of my favorites in large part because of the music's interaction with the fade-in... the converging and diverging of lines - very Ligeti-esque. Unsettling af, but the score also has a strange beauty at times. I love The Master and Phantom Thread, but this is still my favorite Greenwood score.
Director Alfred Hitchcock was so pleased with the score written by Bernard Herrmann that he doubled the composer's salary to $34,501. Hitchcock later said, "33% of the effect of Psycho was due to the music."
Musically, Maurice Jarre was hired to write the dramatic score, Aram Khachaturyan was handling the eastern themes and Benjamin Britten was to provide the British imperial music. Neither Khatchaturian or Britten were able to properly get involved so Sam Spiegel hired Richard Rodgers to fill in the musical gaps. When Spiegel and Lean heard Rodgers' compositions, they were hugely disappointed, so they turned to Jarre to see what he had done. The minute Lean heard Jarre's now-classic theme, he knew they had the right composer. Jarre was given the job of scoring the whole film - in a mere six weeks.
Hans Zimmer, the composer on the film along with John Powell (who provided additional music) composed over four hours of music on this film, presumably for the original director's cut of the film. However, when director Terrence Malick re-cut the film down to its current running time of 170 minutes, he chose only a few select pieces of music from Zimmer's and Powell's musical contributions, along with original source music, which ended up in the theatrical edition of the film.
Post by The_Cake_of_Roth on Oct 25, 2018 22:37:54 GMT
What I love about the Psycho score is not just the screechy, violent strings, but generally the way Herrmann uses them in a percussive way while also overlaying an eerie melody over top of it, so he's doing something very modern by doing a lot of different things gesturally with the strings.
There are 90 minutes of Jonny Greenwood's score used during the 130 minute running time of "Phantom Thread" . Greenwood says he was influenced by the works of Nelson Riddle and Glenn Gould from the 50's.
George Lucas planned to score the film with existing classical music like Stanley Kubrick had done on 2001: A Space Odyssey, before Steven Spielberg introduced him to composer John Williams. Lucas and Williams agreed on a classical 19th-century Romantic music style with liberal use of leitmotif for the score. Since the movie would show worlds never seen before, the music had to serve as an "emotional anchor" for the audience to relate.
John Williams scored the film at the end of February, 1993 and recorded it a month later. He felt he needed to write "pieces that would convey a sense of awe and fascination, given it dealt with the overwhelming happiness and excitement that would emerge from seeing live dinosaurs."