HIGH-RISE composer Clint Mansell builds beautiful insanity – Interview

By DANIEL SCHWEIGER 05/13/2016
HIGH-RISE soundtrack | ©2016 Silva Screen

  If being a composer can drive one crazy, then few have stared so consistently into the mouth of madness with such interesting, and creatively invigorating results as Clint Mansell. The braintrust of the U.K. group Pop Will Eat Itself made his scoring debut drilling a distinctively electronic hole into the head of PI’s crazed mathemetician in 1998. His musical mind-warping partnership with director Darren Aronofsky would mine new headtrips of creativity, from the string needles of the Kronos Quartet that filled the veins of REQUIEM FOR A DREAM‘s drug addicts to the cosmically symphonic transcendence of a truth-seeker in THE FOUNTAIN, the […]Read On »


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GREEN ROOM: Brooke and Will Blair on taking a soft scoring approach to punk ultra-violence – Interview

By DANIEL SCHWEIGER 04/23/2016
GREEN ROOM soundtrack

When it comes to wreaking musical mayhem, film scores from micro-budgeters to multiplex tentpoles have beaten the band with percussive savagery, raging strings and knife-stab samples. But where these soundtracks have tried be even more murderous than the slashing blades, gun shots and assorted blunt instruments they accompany, Brooke and Will Blair have shown that one can effectively conjure brutality by speaking softly and carrying a big ambient stick. The Blair’s talent for lethally hypnotic minimalism has been an especially potent weapon in the films of Jeremy Saulnier. Mutually beginning their careers with 2007’s humorously sadistic indie thriller MURDER PARTY, the […]Read On »


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CITY OF GOLD: Composer Bobby Johnston hears the good eats of L.A. – Interview

By DANIEL SCHWEIGER 04/14/2016
CITY OF GOLD soundtrack | ©2016 Lakeshore Records

Los Angeles has usually been portrayed in decidedly unappetizing fashion by Hollywood, conveying a city full of kill-hungry zombies (THE OMEGA MAN), morally bankrupt magnates (CHINATOWN) gang bangers (COLORS) and corrupt cops (L.A CONFIDENTIAL) – a fictional situation disdainfully summed up by the epic movie documentary LOS ANGELES PLAYS ITSELF. However, it’s a documentary that now reverses courses for those fed up with LA’s fictionalized bad taste. For CITY OF GOLD resets the table in far more optimistic, and melodically fun fashion as it follows Pulitzer-prize winning food writer Jonathan Gold, a self-described “failed cellist” who’s reviews have gone on […]Read On »


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RAMS: Icelander Atli Örvarsson shepherds the score – Interview

By DANIEL SCHWEIGER 03/10/2016
RAMS soundtrack | ©2016 Lakeshore Records

There’s a muscular, solitary spirit that hails from The Great White Nord, as well as a natural eccentricity. Perhaps that might explain the individualistic, off-kilter spirit running through even the most bombastic multiplex movies that Icelander Atli Örvarsson has scored in Hollywood. Drawn to Hans Zimmer’s orbit like so many talented western European composers (if geographically located on a mostly frozen volcanic land mass), Örvarsson rose through such American TV shows as DRAGNET and LAW AND ORDER: CRIMINAL INTENT to impress with his surreal film scores for BABYLON A.D. and THE FOURTH KIND. With Viking blood no doubt in his […]Read On »


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THE WITCH: Mark Korven is in a musical thrall – Exclusive Interview

By DANIEL SCHWEIGER
THE WITCH | ©2016 A24 Films

There are horror films and scores that do a good job of scaring you, and then there are others like THE EXORCIST, THE SHINING and A NIGHTMARE ON ELM STREET that truly hit a nerve by making one feel that they’ve taken part in something unholy – or at least that’s if you believe The Satanic Temple’s big thumbs up that THE WITCH is a “transformative Satanic experience.” Whether one feels encouraged to strip naked in the woods and call upon the powers of darkness remains to be seen after a viewing of THE WITCH But one thing that that […]Read On »


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Interview: Composer Stephen Raynor-Endelman banks on MADOFF

By DANIEL SCHWEIGER 02/02/2016
MADOFF | ©2016 ABC

Few English composers have gotten to score the stylistic extremes of America like the creatively and physically pugnacious Stephen Raynor-Endelman, a musician of all emotional trades if there ever was one. A musical prodigy who’d write two operas by the wage of 18, Endelman moved to New York to start fulfilling a movie scoring career with such individualistic, eccentric scores as HOUSEHOLD SAINTS, POSTCARDS FROM AMERICA and IMAGINARY CRIMES. His music depicting rough and tumble lives with humanity to spare before going back to the British and Irish isles with the romantic comedy, and fatherly drama of THE ENGLISHMAN WHO […]Read On »


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IN THE HEART OF THE SEA: Composer Roque Baños on scoring the seas – Interview

By DANIEL SCHWEIGER 12/15/2015
IN THE HEART OF THE SEA soundtrack | ©2015 WaterTower Music

If you madly hunt for great composing talents the world over, chances are you’ll hear the particular, vast melodic abilities of one Roque Baños. Hailing from Spain where he’d notably engage in the Spaghetti Western pastiche of 800 BULLETS,  the artistic classicism of GOYA IN BOURDEAUX and the bad cop antics of TORRENTE among the numerous movie he’d score in his home country, Baños first caught American ears with his romantically twisted crime stylings for 2000’s SEXY BEAST and the Herrmann-esque doom of 2004’s Theremin-possessed  THE MACHINIST. It’s been a long, prolific journey to our shores over the years before […]Read On »


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KRAMPUS: Composer Douglas Pipes unleashes music for the anti-Claus – Interview

By DANIEL SCHWEIGER 12/14/2015
KRAMPUS soundtrack | ©2015 Back Lot Music

If Douglas Pipes comes knocking at your door with a bag begging for candy, or drops into your chimney with a sack of toys to give, it’s best to run the other way from a composer with a knack for turning child-friendly holidays into hell. But for those Scrooges who delight in hearing merriment tuned to the key of frenzied misery, Pipes’ seditious way of playing two of the year’s most beloved days as humorously black-hearted apocalypses is music to the ears – no more so than on the happiest eve of all as he twists all that is musically […]Read On »


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THE SCORCH TRIALS: Interview with composer John Paesano on new MAZE RUNNER movie

By DANIEL SCHWEIGER 09/28/2015
THE SCORCH TRIALS | ©2015 20th Century Fox

From INSURGENT to THE HUNGER GAMES, the YA (i.e. Young Adult) sci-fi genre is all the rage when it comes to kids revolting against the evil, adult dystopian powers that be. And while all might have their share of tragedy and mayhem delivered upon its protagonists in their search for sanctuary, none have delivered the kind of epic mayhem better reserved for outright teen-unfriendly horror pictures with the expansive eye and ear-catching ferocity of THE MAZE RUNNER and its sequel THE SCORCH TRIALS. It seems like only yesterday (or at least last September) that Fox’s franchise, spun from James Dashner’s […]Read On »


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ANT-MAN: Composer CHRISTOPHE BECK gets big with new Marvel movie

By DANIEL SCHWEIGER 07/19/2015

Few Marvel superheroes might have an inferiority complex like Ant-Man. He’s a guy decked out in blue and red, wearing what appears to be some diver’s helmet, gifted with the ability to shrink down to insect size while still delivering a man-sized punch. Not exactly as cool as a mythic hammer, a repulsor ray equipped iron suit or an ability to turn into a big green rage engine. Plus, there’s that name, one subject to any number of self-effacing quips by Paul Rudd, an oft-comedic actor. You know THE DARK KNIGHT which is great indeed when it comes to giving […]Read On »


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