Interview: NEBRASKA composer Mark Orton takes a road trip

By DANIEL SCHWEIGER 12/31/2013
NEBRASKA soundtrack | ©2013 Milan Records

From ABOUT SCHMIDT‘s gruff retiree venturing about the Midwest in his Winnebago to the two malcontents who take their beat up car for soul-searching and wine-tasting in SIDEWAYS‘ Santa Ynez Valley, filmmaker Alexander Payne has proven that he’s got an eccentric taste for movies involving road trips with bastards – especially when it comes to the eccentric scores playing on his car radio called a soundtrack. But of all the hopefully redemptive voyages for these lovable losers that Payne has staged to critical acclaim, perhaps none has the desolate whimsy we hear on our way to NEBRASKA. The state might […]Read On »


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Interview: 47 RONIN composer Ilan Eshkeri scores the samurai way

By DANIEL SCHWEIGER 12/28/2013
RONIN soundtrack | ©2013 Varese Sarabande Records

Ilan Eshkeri is a composer who knows his way around costumes, be it past or present. Starting his scoring career in England swinging a gladiator’s sword for two TV movies about the Coliseum, Eshkeri has fitted on the blood-stained mob business suits of LAYER CAKE, provided a rousing fantasy score for the eccentric wizards and air pirates of STARDUST, elegantly showed that YOUNG VICTORIA had sex appeal, helped apply the battered spandex of KICK-ASS and returned to the valiant last legion of the Roman Empire’s CENTURION. But whether the era demands a score that’s humorously enervating or bold and bloody, […]Read On »


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Interview: Composer Steven Price makes GRAVITY soar

By DANIEL SCHWEIGER 10/23/2013
GRAVITY soundtrack | ©2013 WaterTower Music

It’s been said that in space that no one can hear you scream. Yet for all of its astonishing visual, and technical accuracy, I can be fairly certain that the audience will be thankful that GRAVITY has thrown a bone to allow one glaring stylistic inaccuracy to survive in the void. Namely, it’s the emotionally identifiable companion of music that accompanies the lonely roller coaster ride of female astronaut Ryan Stone. For hearing nothingness would be cold comfort indeed, as it’s the innovative scoring of Steven Price that gives GRAVITY‘s black oblivion a feeling, beating heart. Of course, that isn’t […]Read On »


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Interview: BEFORE MIDNIGHT composer Graham Reynolds creates the musical conversation

By DANIEL SCHWEIGER 06/15/2013
BEFORE MIDNIGHT soundtrack | ©2013 Milan Records

For such a visual medium as film, it’s amazing that watching two agingly attractive people gabbing away overseas at cafes, on sidewalks and in hotel rooms can prove just as cinematically engaging as a superhero blockbuster. That says much about just how great the said talk is through three BEFORE movies, a conversation first sparked 18 years ago by filmmaker Richard Linklater and co-writer Kim Krizan in BEFORE SUNSET, then continued on in 2004’s BEFORE SUNRISE with co-stars Ethan Hawke and Julie Delpy adding their own verbal food for thought for their character’s developing relationship. Now BEFORE MIDNIGHT finds American […]Read On »


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INTERVIEW: HANNIBAL gets twisted score by Brian Reitzell

By DANIEL SCHWEIGER 05/30/2013
HANNIBAL | ©2013 NBC

You might argue that the spark for film scores to get industrially dark was lit when the scraping metallic music of Nine Inch Nail’s song “Closer” ran over the unforgettably disturbing opening titles of SEVEN. Now this bleakly transfixing style has become all the rage, from the visceral video forensics of CSI to the big screen torture dungeons of THE GIRL WITH THE DRAGON TATTOO and THE CALLER. But in a media obsessed with churning out serial killers to this alt. rock inspired bump-and-grind, the one psychopath creation that remains unequalled in ghoulish popularity is Hannibal Lector, the gourmand cannibal […]Read On »


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Interview: EVIL DEAD composer ROQUE BANOS scares up a score

By DANIEL SCHWEIGER 04/21/2013
Roque Banos | ©2013 Roque Banos

There are over the top gore films. There are over the top horror scores. And then there is the redo of EVIL DEAD, which does its best to live up to its claim of being “the most terrifying film you will ever experience.” While that debate will be left up to those who survive its blood-splattered roller coaster ride with enough severed limbs to make RE-ANIMATOR  look like REBECCA OF SUNNYBROOK FARM, there will be little argument that Roque Banos’ score is the aural equivalent of a raging exclamation mark, it’s bottom colon fashioned into a knife that repeatedly stabs […]Read On »


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Interview: SKYFALL composer Thomas Newman gets his license to score

By DANIEL SCHWEIGER 11/22/2012
SKYFALL soundtrack | ©2012 Sony Masterworks

As James Bond gun-barrels hell-bent into the 21st century with his 23rd film SKYFALL, 007’s owners have continued to re-shape their iconic 50 year-old bread-and-Broccoli character into a spy who’s far more a part of a believable BOURNE universe, as opposed the stylish wisecracker who duked it out with evil industrialists aboard super tankers and space stations. While that gallows humor is still very much part of Bond’s DNA, the character has achieved a real-world level of brute force and inner turmoil unheard of in his past incarnations. But even before the real world makeover that’s best been personified by […]Read On »


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Interview: TAKEN 2 composer Nathaniel Menchaly gets into the action of scoring

By DANIEL SCHWEIGER 10/28/2012
Nathaniel Menchaly ©2012 Nathaniel Menchaly

When it comes to international action scoring, there’s one composer with a very particular set of skills, skills that he’s acquired as a kick-ass house musician in Luc Besson’s factory of fury. For a producer who pumps out a seemingly unending stream of pictures wherein company men, crooks and assassins of all stripes and colors outrace, outwit and outshoot their way from seemingly impossible predicaments, Nathaniel Méchaly is the guy with the backbeat to get the job done. But when the percussive scoring style that infuses nearly all movies of this type are getting more than winded (especially in America), […]Read On »


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Interview: Composer Marcelo Zarvos hears THE WORDS

By DANIEL SCHWEIGER 09/22/2012
THE WORDS soundtrack | ©2012 Lakeshore Records

ZARVOS: In the haute world of writers, elegance, fashion and intellect are oft-used words when it comes to getting the keys to the kingdom of literary intelligentsia. It’s a gilded, lionized place that many have cheated their way into. And those seemingly fortunate con artists will oftentimes do anything to maintain that position, even at the cost of their relationships and mental health before the guise ultimately crumbles. THE WORDS is one such tale (or multiple tales) of young Rory Jansen (Bradley Cooper), whose prized novel is unmasked for another’s when the real Old Man author (Jeremy Irons) comes calling. […]Read On »


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Interview: THE POSSESSION composer Anton Sanko finds a new sound for exorcism

By DANIEL SCHWEIGER 09/09/2012
THE POSSESSION soundtrack | ©2012 Lionsgate Records

When the word “exorcism” is bandied about, the movie-consecrated sights and sounds that seize us are usually comprised of tubular bells, bloodied crucifixes, shrieking dissonance, the shock of grotesquely wrenched bodies, feverish violins and the tormented cries of pubescent girls and their distraught parents. And while THE POSSESSION might have just a few of these stocks in horror trade, what impresses is the leap of faith it’s taken with the same old song and spew- that being of the demon’s transference to the Jewish religion, as trapped inside a “Dybbuk Box” (which once served as the film’s original title). Found […]Read On »


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