Lorne Balfe’s JUNGLELAND Original Motion Picture Score Available Now

The Original Motion Picture Score for JUNGLELAND by Award winning composer Lorne Balfe is available now.

Lorne Balfe (Mission Impossible: Fallout (INTERVIEW), The Lego Batman Movie, Churchill, HBO’s His Dark Materials) is a Grammy Award winning, EMMY and BAFTA nominated composer. Whether on an impossible mission, the heartbreak of the Queen, the perils of the cape crusade or the soul of a genius, Lorne Balfe creates a musical voice that reflects the characters and the stories that embody them. Originally from Inverness, Scotland, Balfe has created music in virtually all genres and for all visual media with projects ranging from major studio to independent films, tentpole video game franchises, beloved animated feature films, critically acclaimed television series, and documentary features.

Produced by Romulus Entertainment in association with Scott Free Productions and Big Red Films, and directed and co-written by Max Winkler (Flower), JUNGLELAND is a love story between two brothers whose bond is tested as they hustle and scrape towards their slice of the American Dream. Stanley (Charlie Hunnam, “Sons of Anarchy”) and Lion (Jack O’Connell, Unbroken) are brothers struggling to stay relevant in the underground world of bare-knuckle boxing. When Stanley fails to pay back a dangerous crime boss (Jonathan Majors, “Lovecraft Country”), they’re forced to deliver an unexpected traveler (Jessica Barden, “The End of the F***ing World”) as they journey across the country for a high stakes fighting tournament. While Stanley trains Lion for the fight of his life, a series of events threaten to tear the brothers apart, but their love for one another and belief in a better life keep them going in this gripping drama that proves the family pulls no punches.

Now on Digital and On Demand Get it now: https://paramnt.us/Watch-Jungleland

Lorne Balfe says,

“I wanted the score of Jungleland to reflect the way the characters see themselves. In our early conversations, I focused on conveying aspiration as timeless and complicated, which is why he shied away from anything that felt too modern or flat — acoustic guitars, anything synth. We wanted to use instruments that felt regal, that demanded your respect. The style of music that would play in a dreamer like Stanley Kaminski’s head.
The style he would believe he and his brother Lion were owed. Climbing in and out of boarded up windows to their foreclosed palace, clocking in and out at the factory job, making their way from the cramped Italian kitchen to a windowless basement.”

Director Max Wrinkler says,

“We hoped to create a processional theme that was bigger and richer than their circumstances appeared to be on the surface. Stanley saw himself and Lion as kings, even if no one else did, so why not have a score that matched that? In those blue sky discussions, Lorne and I spoke endlessly about Orlando Gibbons, Thomas Tallis, and my personal favorite William Byrd. Music that was made to be played in royal courts. Music that was equal parts comical as well as profoundly sad and mournful. With these inspirations in mind, we assembled a 32 piece brass and woodwind band in Vienna to record a score that reflected the nobility of boxing and approached Stanley and Lion’s world with a formal appreciation. Queensbury rules. We wanted to introduce a sense of civility and humanity to the fray. We favored fugal horns, oboes, and strings to orchestrate dreams and hope beyond boundaries — the longing and heartbreak of it — and the brothers’ complete, but somehow still-searching, love for one another.”

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