La-La Land Records and Paramount Pictures proudly present renowned composer Marco Beltrami’s(A QUIET PLACE, FORD v FERRARI, LOGAN) original motion picture score to the new Paramount Pictures big-screen thriller A QUIET PLACE PART II, starring Emily Blunt, Cillian Murphy and Djimon Hounsou, and directed by John Krasinski. The film has received stellar reviews and presently sits at 91% on Rotten Tomatoes.
His score for A QUIET PLACE was nominated for a Golden Globe for Best Score and shortlisted for Best Score for the Oscars.
His other recent projects include Guillermo Del Toro’s Scary Stories to Tell in the Dark, Jordan Peele’s “The Twilight Zone” for CBS All Access, the Lionsgate comedy Long Shot starring Charlize Theron and Seth Rogen, the Zac Efron-starrer Extremely Wicked, Shockingly Vile, and Evil, Lionsgate sci-fi feature Chaos Walking starring Tom Holland and Daisy Ridley and the Paramount Pictures adventure comedy Love and Monsters.
Upcoming for Beltrami is Netflix’s horror film Fear Street, Sony Pictures action horror sequel Venom: Let There Be Carnage.
Building on his exciting and atmospheric musical soundscape for the blockbuster original A QUIET PLACE, composer Beltrami returns to score this thrilling and much-anticipated continuation of the saga. Again, Beltrami musically finds and enriches the film’s perfect pitch of creative scares, nail-biting suspense and powerful human drama.
Produced by the composer and Buck Sanders, this special CD release is limited to 2000 units. Pre-order from Amazon here.
Tracks:
From the Beginning 0:51
Leaving the Farm 1:34
Watch Us Run 2:01
Moving In 2:26
Show Me Your Face 1:17
Regan On Her Own 1:18
Training Day 2:38
Mother and Child 1:42
Family Ties 2:44
You Scream You Die 6:31
Dive 3:44
Emmet’s Realizations 2:06
Entering the Station 4:13
Encouraging Feedback 2:10
A Grateful Family 2:09
Following the deadly events at home, the Abbott family (Emily Blunt, Millicent Simmonds, Noah Jupe) must now face the terrors of the outside world as they continue their fight for survival in silence. Forced to venture into the unknown, they quickly realize that the creatures that hunt by sound are not the only threats that lurk beyond the sand path. Stars Emily Blunt, Cillian Murphy, Millicent Simmonds, Noah Jupe, Djimon Hounsou.
A QUIET PLACE PART II IS ONLY IN THEATRES, DOLBY CINEMA AND IMAX ON MAY 28, 2021.
WaterTower Music has announced the April 16 release of the soundtrack to New Line Cinema’s explosive new movie “Mortal Kombat,” which brings to life the intense action of the blockbuster video game franchise in all its brutal glory, pitting the all-time, fan-favorite champions against one another in the ultimate, no-holds-barred, gory battle that pushes them to their very limits. The film is helmed by award-winning Australian commercial filmmaker Simon McQuoid, marking his feature directorial debut, is set for release nationwide in theaters on April 23 and will be available in the U.S. on HBO Max in 4K UHD, HDR10, Dolby Vision, Dolby Atmos on supported devices for 31 days from theatrical release. It will be distributed worldwide by Warner Bros. Pictures.
The Mortal Kombat (Original Motion Picture Soundtrack) contains all new score by Golden Globe-, Emmy-, and Grammy-nominated composer Benjamin Wallfisch (IT and IT Chapter 2, Shazam, Blade Runner: 2049 [w/ Hans Zimmer]).
The first single from the album was released. “Techno Syndrome 2021 (Mortal Kombat)” is composer Benjamin Wallfisch’s musical homage to the music, fans, and enduring lineage of Mortal Kombat. The track was produced and performed by Wallfisch and mixed and Mastered by Tom Norris (Skrillex, Gaga, Zedd).
Director Simon McQuoid discussed working with Wallfisch on the score and on “Techno Syndrome 2021”. “Ben and I both knew that we needed to use the classic Immortals track ‘Techno Syndrome’ as source material for the entire score of Mortal Kombat. But along with that we knew that an updated elevated version of the song also needed to be created. And Ben certainly delivered, I am so excited by this new 2021 version of the track, when I first heard it, it blew my mind. Actually, Ben kind of blew my mind on a daily basis through the making of this film, so we can all thank Benjamin Wallfisch for his genius and passion in creating ‘Techno Syndrome 2021’.
Benjamin Wallfisch further elaborated. “When I was invited to come on board ‘Mortal Kombat,’ I was very aware of the responsibility that comes with scoring a franchise so deeply embedded in pop culture and with such a passionate fanbase. My first question was what can we do with ‘Techno Syndrome,’ a piece of music so much part of the DNA of the game and the original movies? What motifs could be reinvented and blown up to a full-scale symphonic sound world in the score, and might there be room for a full reinvention of the whole song as an EDM single in 2021? A huge thank you to The Immortals for giving us their blessing to reimagine their classic track in this way, as a celebration of the world of Mortal Kombat and its fans, and of the uplifting power of Electronic Dance Music, which the original did so much to light the fuse of 30 years ago.”
The soundtrack release date is set for April 16 and features 24 tracks by Wallfisch, who interpreted the film’s themes and emphasized the story’s hard-driving, visceral action through his music. Fans will be thrilled to hear the composer’s heart-pumping score, which includes themes for such characters as Lord Raiden, Sub-Zero, Sonya Blade, Cole Young, Shang Tsung, Liu Kang, and Kung Lao, among others, and epic battle themes from the film, including “Kano v Reptile” and “Sub-Zero v Cole Young.”
Mortal Kombat (Original Motion Picture Soundtrack) will be available April 16. The first single, “Techno Syndrome 2021 (Mortal Kombat)” is now available, and the full album track list is as follows. All music by Benjamin Wallfisch.
Techno Syndrome 2021 (Mortal Kombat)
Hanzo Hasashi
Lord Raiden
Bi-Han
Shang Tsung
Cole Young
Birthmark
Sonya Blade
Kano v Reptile
Liu Kang
The Great Protector
Sub-Zero
Kung Lao
Origins
Kabal
Goro
Arcana
Jax Briggs
The Void
The Tournament
Sub-Zero v Cole Young
I Am Scorpion
We Fight as One
Get Over Here
From New Line Cinema comes the explosive new movie “Mortal Kombat,” bringing to life the intense action of the blockbuster video game franchise in all its brutal glory, pitting the all-time, fan-favorite champions against one another in the ultimate, no-holds-barred, gory battle that pushes them to their very limits. The film is helmed by award-winning Australian commercial filmmaker Simon McQuoid, marking his feature directorial debut, and produced by James Wan, Todd Garner, McQuoid and E. Bennett Walsh.
In “Mortal Kombat,” MMA fighter Cole Young, accustomed to taking a beating for money, is unaware of his heritage—or why Outworld’s Sorcerer Shang Tsung has sent his best warrior, Sub-Zero, an otherworldly Cryomancer, to hunt him down. Fearing for his family’s safety, Cole goes in search of Sonya Blade at the direction of Jax, a Special Forces Major who bears the same strange dragon marking Cole was born with. Soon, he finds himself at the temple of Lord Raiden, an Elder God and the protector of Earthrealm, who grants sanctuary to those who bear the mark. Here, Cole trains with experienced warriors Liu Kang, Kung Lao and rogue mercenary Kano, as he prepares to stand with Earth’s greatest champions against the enemies from Outworld in a high stakes battle for the universe. But will Cole be pushed hard enough to unlock his arcana—the immense power from within his soul—in time to save not only his family, but to stop Outworld once and for all?
The diverse international cast reflects the global nature of the brand, with talent spanning the worlds of film, television and martial arts. The ensemble includes Lewis Tan as Cole Young; Jessica McNamee as Sonya Blade; Josh Lawson as Kano; Tadanobu Asano as Lord Raiden; Mehcad Brooks as Jax; Ludi Lin as Liu Kang; with Chin Han as Shang Tsung; Joe Taslim as Bi-Han and Sub-Zero; and Hiroyuki Sanada as Hanzo Hasashi and Scorpion. Also featured are Max Huang as Kung Lao and Sisi Stringer as Mileena.
McQuoid directed from a screenplay by Greg Russo and Dave Callaham, from a story by Oren Uziel and Russo, based on the video game created by Ed Boon and John Tobias. Richard Brener, Dave Neustadter, Victoria Palmeri, Michael Clear, Jeremy Stein and Larry Kasanoff served as executive producers.
Bringing the hugely popular property to the big screen, McQuoid led a team of Australian and U.S. filmmakers, including director of photography Germain McMicking, production designer Naaman Marshall, editors Dan Lebental and Scott Gray, visual effects supervisor Chris Godfrey, costume designer Cappi Ireland and fight choreographer Chan Griffin. The music is by Benjamin Wallfisch.
New Line Cinema Presents an Atomic Monster/Broken Road Production, “Mortal Kombat.” The film is set for release nationwide in theaters and will be available in the U.S. on HBO Max in 4K UHD, HDR10, Dolby Vision, Dolby Atmos on supported devices for 31 days from theatrical release. It will be distributed worldwide by Warner Bros. Pictures.
“Mortal Kombat” is rated R for strong bloody violence and language throughout, and some crude references.
One of the best DC Comics TV shows has just finished its super and terrific first season. Fans of DC Universe’s “Stargirl” were treated to an exciting Season One Finale filled with a Justice League vs the Injustice Society battle, as well as a little cliffhanger for Season 2.
The surprises in season finale gave us so many cool twists and turns, and of course, deep comic book Easter eggs. Plus we got to meet the Seven Soldiers of Victory, a team of Golden Age lawmen, along with team member, “Shining Knight”. And even though the Seven Soldiers never got the name recognition the Justice Society had, they still hold their own special place in the history of the DC Universe.
WaterTower Music has announced fan-favorite DC/Warner Bros. Television series: DC’s Stargirl: Season 1 (Original Television Score) by Emmy-nominated composer Pinar Toprak is available on all platforms now, as well as the online store at DC FanDome: Hall of Heroes on Saturday, August 22.
I love Toprak’s scores – her sounds and music palette in the TV show Superman prequel KRYPTON as well the film CAPTAIN MARVEL are emotionally rich, vibrant and add so much character to the stories of these superheroes.
DC’s Stargirl: Season 1 (Original Television Score) features 22 tracks from the debut season of the hit series. Recently wrapping its first season on both The CW and DC UNIVERSE, DC’s Stargirl was recently renewed for a second season exclusively on The CW. Based on the character created by Geoff Johns, DC’s Stargirl features an epic score by the award-winning film and television composer Pinar Toprak, who received her first Primetime Emmy® nomination this year for her work on HBO’s McMillions.
“I’m a huge fan of show creator Geoff Johns and everything he’s done,” remarked Toprak. “When we met, the way he talked about Courtney, the character, and his vision for DC’s Stargirl really touched my heart. Obviously, I love this genre to begin with, so it was a no-brainer to compose the score. Working with Geoff was just one of the best experiences of my career, to be honest.”
The new Super Hero series DC’s STARGIRL follows high school sophomore Courtney Whitmore (Brec Bassinger) as she inspires an unlikely group of young heroes to stop the villains of the past. This new drama reimagines Stargirl and the very first superhero team, the Justice Society of America, in an unpredictable series that focuses on the character that started creator Geoff Johns’ career as a comic book writer when he created her in 1999, lovingly inspired by his late sister who was killed in a 1996 plane explosion. Also starring Yvette Monreal, Anjelika Washington, Cameron Gellman, Trae Romano, Jake Austin Walker, Hunter Sansone, Meg DeLacy, Neil Jackson, Christopher James Baker, with Amy Smart and Luke Wilson, the first season of DC’s Stargirl was executive produced by Geoff Johns, Greg Berlanti, Melissa Carter, Greg Beeman and Sarah Schechter. Created for television by Johns, the series is produced by Berlanti Productions and Mad Ghost Productions in association with Warner Bros. Television.
Toprak has written music for Epic Games’ massively popular online video game Fortnite. Away from the big screen, Toprak crafted the new main theme for Walt Disney World’s iconic EPCOT theme park and wrote music for Christina Aguilera’s 2019 Xperience show in Las Vegas.
Toprak was the recipient of the 2019 ASCAP Shirley Walker Award and also won the 2019 IFMCA (International Film Music Critics Association) Award for “Best Original Score for a Documentary Film” for her score to The Tides of Fate. She had previously won two other IFMCA Awards for her work on The Wind Gods and The Lightkeepers. which was on the Academy Award® shortlist for Best Original Score in 2011.
“Set in 2038, “Archive” convincingly jumbles eras of futurism, as somewhat quaint old-school robotics give way to more uncannily sinuous forms. “Gravity” composer Steven Price’s score, meanwhile, blends sparse strings and glassy synths, reflecting the marriage of human touch and metallic industrial sheen in George’s mad-scientist meddlings.
Milan Records announces the release of ARCHIVE (ORIGINAL MOTION PICTURE SOUNDTRACK) with music by Academy Award®-winning composer STEVEN PRICE (Gravity, Baby Driver, Suicide Squad). Available everywhere now, the album features music written by Price for director Gavin Rothery’s sci-fi film starring Theo James.
From Vertical Entertainment, ARCHIVE is available now via virtual cinema, VOD and Digital.
Of the soundtrack, composer STEVEN PRICE says, “My favourite projects are the ones where the story leads me into new musical areas, and exploring the world of Archive, a movie where technology and humanity meet in a near future Kyoto, proved to be a brilliant challenge. I’d been looking for the opportunity to create a largely electronic score for the first time in a long while and the story of George Almore, his secretive AI project and the mysterious Archive let me do just that… The music follows the developments in George’s work as it progresses, and as he gets closer to achieving his hopes and dreams it was a lot of fun to blur the lines between the electronic and organic, trying to find the sound of his creations. From the moment I read writer / director Gavin Rothery’s ambitious script I wanted to be involved, and throughout the process he proved to be a great collaborator and true supporter of music. I’m looking forward to people experiencing the movie Gavin has created, and it was a real pleasure to be a part of it.”
“Archive was always going to need a killer score, but when I was writing the script, I had no idea how that was all going to happen,” says the film’s director and writer GAVIN ROTHERY, adding, “I wanted the film to be big and cinematic. But I also needed it to feel tight and personal. I wanted some parts to be epic and bold, but others intimate and close. Some parts needed energy and power but others needed space and quiet. Technology needed to fuse with humanity. And it all needed to feel unified and whole. Basically, as is probably true with most directors, I wanted everything. Steven gave me everything. He delivered the perfect score to Archive. I’m not quite sure how he does what he does. Maybe he’s a secret telepath. Maybe he’s from the future. Maybe he’s a robot. There is one thing that I am absolutely certain of is that he most definitely is. The best.”
2038: George Almore is working on a true human-equivalent AI. His latest prototype is almost ready. This sensitive phase is also the riskiest. Especially as he has a goal that must be hidden at all costs: being reunited with his dead wife.
The Sci-Fi movie Archive is set in 2038 and shows the fusion of technology and humanity. Watch the movie also to listen to the captivating score by @SteveBPrice! To listen to the whole soundtrack, click here: https://t.co/YyAJ4LtK61pic.twitter.com/AIf1j3XOzq
— Sony Music Soundtracks (@SonySoundtracks) July 16, 2020
Inspired by true events, the film stars Academy Award nominee Hugh Jackman and Academy Award winner Allison Janney. The story follows Frank Tassone (Jackman) and Pam Gluckin (Janney) who reign over a popular Long Island school district on the verge of the nation’s top spot, spurring record college admissions and soaring property values. But when an embezzlement scheme surfaces that threatens to destroy all they’ve built, Frank is forced to maintain order and secrecy — by whatever means necessary.The Bad Education score, by composer Michael Abels, is a vital part of the film’s fabric; a brilliant and intense telling the story through his music. https://www.hbo.com/movies/bad-education
“The score is an homage to great classical concert music, evoking the rigorous world of competitive academia, and its high level of training and discipline,” explained Abels about his approach to the composition. “But as this structured world begins to unravel in the film, the score also includes stark, minimalist cues driven primarily by percussion.
Michael Abels is a composer/producer best known for his scores for writer/director Jordan Peele’s Oscar-winning film GET OUT, and highly anticipated follow-up US, for which Abels was awarded “Discovery of the Year” at the 2019 World Soundtrack Awards. Abels’ score for US was also shortlisted for the 2020 Oscars, received a Critics’ Choice nomination, an NAACP Image Award nomination, multiple critics’ awards, and was named “Score of the Decade” by online publication The Wrap. As a concert composer, Abels has received grants from the National Endowment for the Arts, Meet The Composer, and the Sphinx Organization, among others. His orchestral works have been performed by the Chicago Symphony, the Cleveland Orchestra, the Atlanta Symphony, the Philadelphia Orchestra, and many more. As guest conductor of GET OUT IN CONCERT, Abels has led orchestras including National Symphony and the San Francisco Symphony. Several of his orchestral works have been recorded by the Chicago Sinfonietta on the Cedille label, including Delights & Dances and Global Warming. Abels is co-founder of the Composers Diversity Collective, an advocacy group to increase visibility of composers of color in film, game and streaming media. Abels’ first ballet, FALLING SKY, commissioned by Butler University, premiered on February 6, 2020. Following its Toronto International Film Festival 2019 premiere, the Hugh Jackman film BAD EDUCATION will premiere on HBO on April 25, with the soundtrack set to be released through WaterTower Music. The film ALL DAY AND A NIGHT, written and directed by Black Panther scribe Joe Robert Cole, starring Jeffrey Wright (Westworld) and Ashton Sanders (Moonlight), will stream on Netflix from May 1st. Upcoming projects include a diverse mix of concert work, film, and an opera.
When Hughie (Jack Quaid, “The Hunger Games”) suffers a devastating loss at the hands of a reckless Supe his devastation turns to outrage when he discovers there is no legal recourse for victims of collateral superhero damage. While still reeling from his trauma Hughie meets a mysterious operative, Billy Butcher (Karl Urban, “Star Trek”), who recruits him to join in his pursuit of some vigilante justice against the Supes—who are not exactly what they seem.
“The Boys” is a fun and irreverent take on what happens when superheroes – who are as popular as celebrities, as influential as politicians and as revered as Gods – abuse their superpowers rather than use them for good. It’s the powerless against the super powerful as The Boys embark on a heroic quest to expose the truth about The Seven, and Vought – the multi-billion dollar conglomerate that manages these superheroes and covers up all of their dirty secrets. The Boys are rounded out by Mother’s Milk (Laz Alonso, “Detroit”), Frenchie (Tomer Capon, “Hostages”), and The Female (Karen Fukuhara, “Suicide Squad”). Simon Pegg (“Mission: Impossible – Fallout”) guest stars as Hughie’s father.
THE BOYS
The Supes of The Seven are led by Homelander (Antony Starr, “Banshee”) who is joined by Starlight (Erin Moriarty, “Captain Fantastic”), Queen Maeve (Dominique McElligott, “House of Cards”), A-Train (Jessie T. Usher, “Independence Day: Resurgence”), The Deep (Chace Crawford, “Gossip Girl”) and Black Noir (Nathan Mitchell, “Supernatural”). Academy Award® nominee Elisabeth Shue (“Leaving Las Vegas”) stars as Madelyn Stillwell, Vought’s Senior VP of Hero Management.
Based on The New York Times best-selling comic by Garth Ennis and Darick Robertson, “The Boys” was developed by showrunner Eric Kripke (“Supernatural”), who also serves as writer, executive producer and directed the season finale. Joining Kripke as executive producers are Point Grey Pictures’ Seth Rogen (“Preacher”), Evan Goldberg (“Preacher”), and James Weaver (“Preacher”), Original Film’s Neal H. Moritz (“Prison Break”), Pavun Shetty (“New Girl”) and Ori Marmur (“Preacher”), as well as Ken Levin and Jason Netter. Ennis and Robertson also co-executive produce. The pilot episode was directed by Dan Trachtenberg (“10 Cloverfield Lane”).
The score is by Christopher Lennertz. He is one of the most prolific and diverse composers working today, creating music in virtually every genre. He has spent weeks on Billboard charts, received an Emmy nomination for the cult hit Supernatural, a Grammy for his arrangements on Ozomatli’s album Street Signs, and won 14 BMI Awards to date.
Recently the composer and I spoke on the phone about creating music for THE BOYS. The show and Lennertz’s score are astounding. I love superhero TV shows and movies, and being a huge fan this skewed twist on the genre has made it my new favorite series.
THE BOYS reunites Lennertz with the series’ creator Eric Kripke, creator and producer of CW’s Supernatural, which Lennertz has scored since the show’s inception in 2005, and for which he received an Emmy nomination. The duo also worked together on the NBC series Revolution.
My previous conversations with Chris have been about his work on Agent Carter HERE and THINK LIKE A MAN TOO here.
During our conversation this time we talked about the Amazon Prime series as well as his recent projects UGLY DOLLS, SHAFT and his return for a second season for NETFLIX’s hit sci-fi show LOST IN SPACE.
WAMG: How was the COMIC CON Anatomy of a Superhero Panel which you attended in July?
CL: I couldn’t believe how many
people were there – it was a blast. There were thousands of people there.
WAMG: Over the weekend we binged watch THE BOYS and Oh My Gosh!
CL: It’s really something isn’t it?
It’s insane! You think to yourself, ‘I can’t believe they just did that.
WAMG: I kept saying to myself, okay it’s not going to get any crazier… and then it goes right off the rails! Who approached you about working on this project?
CL: I heard about it quite awhile ago when I was working on SAUSAGE PARTY with Seth Rogen and Evan Goldberg and that they were making a show based on the comic about corrupt superheroes driven by greed and power and the team of badass misfits that try to take them down. Then I received an email from Eric Kripke who mentioned it to Seth and they both said they wanted me to do it, so we said, let’s do this!
WAMG: You worked on the Marvel limited series Agent Carter, so you’re well acquainted with composing a musical voice for the superhero genre. The tracks for “Starlight” “Hospital Shootout”, “BOYS” are amazing. Your score had to make these “the Seven” kinda horrible!
CL: Kinda? (Laughs) Your heroes are not the heroes. The music for The Seven, our corrupt hero team, is traditional orchestra and electronics done in as corporate a way as possible, trying to feel like it was created after one too many focus groups…but then we used processing to warp, mangle, and sometimes crush that sound to feel like it was ‘going wrong’ as the perfect stereotypes of comic book heroes begin to shatter. It starts out great but by the end you realize the superheroes are betraying everyone’s trust.
For “The Boys” Eric said he wanted the music to have all the dirt and grime of a messy garage band with the energy of British punk, and that he wanted to poke fun at traditional superhero clichés… Its supposed to sound sloppy on purpose.
WAMG: I love how much percussion runs through the show. What instruments did you use?
CL: Lots of drums and metal – banging on broken instruments. Old amps that we tried to use to get a mix things going horribly wrong. We went with ‘garage band’ sounds of cheap guitars, lo-fi gear, broken cymbals, and… looking for as much noise and feedback as possible.
WAMG: How did you transition between THE BOYS to the recent UGLY DOLLS and then SHAFT?
CL: SHAFT came first. It had that 70’s sound, so that was a lot of fun. Music has always played a key role in the “Shaft” films, beginning with the instantly recognizable theme from the first film in 1972.
And then at the same time I was working on UGLY DOLLS. I did that score plus recording 8 original songs with Oscar nominated and Tony Award-winning lyricist Glenn Slater (Tangled, Broadway’s School of Rock) for the soundtrack sung by these amazing artists Kelly Clarkson, Nick Jonas, Janelle Monae and Blake Shelton. It was funny going from an R-rated Shaft to a family friendly UGLY DOLLS, and then kicked back into gear with THE BOYS. It was never boring.
LOST IN SPACE
Finally, Chris and I spoke about Netflix’s LOST IN SPACE, one of Lennertz’s best scores of 2018. During its initial release Lennertz said, “From the beginning, the producers wanted a classic main title sequence to play during at least some of the episodes,” said Lennertz. “I wanted to tease the show’s premise with a hint of the Alpha Centauri program theme, then a full statement of the new LOST IN SPACE theme, followed by a triumphant finish that showcased now legendary composer John Williams’ original theme from season 3 that people are so familiar with. It was such an honor to be able to incorporate such a classic melody from the man who made me fall in love with film music from the very beginning.”
WAMG: Being a huge sci-fi geek, I loved your score for LOST IN SPACE on Netflix. The first season was so great, especially for fans of the TV show. I loved how your score was interwoven with the classic music of the 1960’s science fiction series. You recently updated your Instagram account with info about scoring the second season of Netflix’s Lost in Space. Can you give us an update on how it’s coming along?
CL: I just finished a cue for episode 10 for Season 2 as we speak – I finished it, saved it and closed it just before I took your call. We are well into the next season with the score. There are ten more episodes coming out right before Christmas this year so I’m about 80 percent done. They are really good too! Everyone is back plus there are new characters and its really going to be great!
This summer season at the Hollywood Bowl celebrates Academy Award-winning films and iconic music by some of the biggest names in film music: John Williams’ stirring score for Jurassic Park; beloved music of George Gershwin from the Oscar-winning film An American Paris; and Nicholas Hooper’s spectacular score for Harry Potter and the Order of the PhoenixT. Each film is shown in full on the Bowl’s giant screen with the orchestra performing the music live.
These feature film nights at the Bowl kicked off with Harry Potter and the Order of the PhoenixTM in Concert.
Coming up on Friday and Saturday, August 16 and 17, is the original Jurassic Park with David Newman leading the Los Angeles Philharmonic in Williams’ iconic score. On Thursday, September 12, the LA Phil, conducted by Brett Mitchell, presents the digitally-restored An American in Paris, winner of six Academy Awards including Best Picture, featuring a treasure trove of Gershwin classics.
On Thursday, August 15, Newman and the LA Phil take us to the moon with America in Space, celebrating the 50th anniversary of the Apollo 11 voyage with Hollywood film clips, honoring this monumental achievement in human history, and looking forward to the future of American space travel.
The celebration of film music continues with three nights of Maestro of the Movies, on August 30 and 31, and September 1, featuring famous selections from John Williams’ incomparable film scores. David Newman conducts the Los Angeles Philharmonic, and Williams himself introduces these beloved music highlights.
Following a Hollywood Bowl tradition, the 2019 summer season also sees the return of the annual Sing-A-Long Sound of Music and the ever-popular costume parade and contest, on Saturday, September 21, hosted by Melissa Peterman. This year, winners will be chosen and prizes will be given out in separate categories for adults and children.
The 2019 season also sees the return of Black Movie Soundtrack III on September 25. Marcus Miller and Reginald Hudlin’s celebration of black movies is hosted by comedian/musician Craig Robinson. This year’s installment features new clips, special guests El DeBarge, Dionne Farris, BeBe Winans, and the Hollywood Bowl Orchestra led by Vince Mendoza.
All movie nights are family- and costume-friendly.
CHRONOLOGICAL LISTINGS:
America in Space Thursday, August 15, at 8PM Los Angeles Philharmonic David Newman, conductor
To celebrate the 50th anniversary of the moon landing, film clips with live accompaniment will take us back to that awesome and unbelievable time in history and explore how the future of space exploration has animated the imagination of Hollywood filmmakers.
Jurassic Park in Concert Friday, August 16, at 8 PM and Saturday, August 17, at 8PM Los Angeles Philharmonic David Newman, conductor
Featuring visually stunning imagery and groundbreaking special effects, the action-packed adventure Jurassic Park pits man against prehistoric predators in the ultimate battle for survival. Experience it now, projected in HD with the Los Angeles Philharmonic performing John Williams’ iconic score live to picture.
Jurassic Park is a trademark and copyright of Universal Studios and Amblin Entertainment, Inc. Licensed by Universal Studios. All rights reserved.
Maestro of the Movies Friday, August 30, at 8PM, Saturday, August 31, at 8PM, and Sunday, September 1, at 7:30PM Los Angeles Philharmonic David Newman, conductor John Williams, special guest
John Williams’ history with the Hollywood Bowl is legendary, and this year, our beloved master of cinematic scores introduces a memorable evening of his movie music to be conducted by his colleague and friend maestro David Newman, including some selections performed with film clips. It’s an unforgettable concert not to be missed!
An American in Paris Thursday, September 12, at 8PM Los Angeles Philharmonic Brett Mitchell, conductor
An American In Paris – film with live score
Digitally restored, this classic film boasts a treasury of music by George Gershwin including some of his most memorable songs, plus the climactic dance finale set to his An American in Paris.
Sing-A-Long Sound of Music Saturday, September 21, at 6PM (pre-show), 7:30PM (film) Melissa Peterman, host
Sing along with the von Trapps and thousands of fellow music fans. Don a clever costume for the pre-show contest – complete with prizes for the best-dressed adults and kids – with hilarious host Melissa Peterman at the Bowl’s special screening of the Oscar®-winning film.
Black Movie Soundtrack III Wednesday, September 25, at 8PM Marcus Miller, musical director Craig Robinson, host Hollywood Bowl Orchestra Vince Mendoza, conductor El DeBarge Dionne Farris BeBe Winans
The third installment of Marcus Miller and Reginald Hudlin’s hugely popular celebration of black movie music returns! Hosted by the very funny comedian/musician Craig Robinson, this year’s installment promises new clips, special guests, and some fan favorites.
Samuel L. Jackson as Elijah Price/Mr. Glass and James McAvoy (background, in yellow) as Kevin Wendell Crumb/The Horde
M. Night Shyamalan weaves together the unforgettable narratives of two of his visionary original films—2000’s UNBREAKABLE and 2016’s SPLIT—in one explosive, all-new comic-book thriller: GLASS
From UNBREAKABLE, Bruce Willis returns as David Dunn as does Samuel L. Jackson as Elijah Price, known also by his pseudonym Mr. Glass. Joining from Split are James McAvoy, reprising his role as Kevin Wendell Crumb and the multiple identities who reside within him, and Anya Taylor-Joy as Casey Cooke, the only captive to survive an encounter with The Beast.
Following the conclusion of SPLIT, GLASS finds Dunn pursuing Crumb’s superhuman figure of The Beast in a series of escalating encounters, while the shadowy presence of Price emerges as an orchestrator who holds secrets critical to both men.
James McAvoy as The Beast, one of the 23 personalities that reside inside Kevin Wendell Crumb.
All franchises, from STAR WARS to JURASSIC PARK to DESPICABLE ME have their signature musical themes. The music of the film is immediately recognizable and synonymous with the franchise itself. GLASS may be the third part of a trilogy, but it’s unlike any franchise ever made, and that presented Shyamalan and his composer West Dylan Thordson with an opportunity to create a score unlike any ever made, too.
West Dylan Thordson is a composer and bandleader who got his start in the Twin Cities music scene before moving to New York with a developing career as a composer of film scores. After leading the band A Whisper in the Noise for many years, he caught his first big break when M. Night Shyamalan featured his version of Bob Dylan’s classic “The Times They Are A-Changin’” at the end of his film LADY IN THE WATER.
Though Thordson’s move to New York was meant to be temporary, lasting only until the end of working on the film FOXCATCHER, his rise in the ranks of film composers continued in 2015 when he scored every episode of the HBO hit series The Jinx: The Life and Deaths of Robert Durst. A consummate collaborator who has now worked with some of the biggest names in music, he has also developed a signature style and distinct way of recording instruments. Thordson also composed the score for director David O. Russell’s JOY, starring Jennifer Lawrence.
“The music for Glass was a unique challenge, because we’re making a sequel to two movies from two different generations, and one of the concomitant issues of that is that you’re talking musical styles from two different generations,” Shyamalan says. “Unbreakable was kind of an old-school Hollywood score. It’s very unusual and has a great percussion kind of movement to it. It was cutting-edge at that time, but it’s played by a 100-piece orchestra. The way we approached Split was with almost a Nine Inch Nails-y vibe. We were taking a cello sound and turning it and twisting it and bending it, and that was very cutting edge for now.”
How do you bring these two approaches to one film?
The solution was for Thordson to take the themes from UNBREAKABLE, composed by James Newton Howard, and revise them in his own style and musicality. “It came out more minimalized, very, very, simple and stripped down with kind of the tones of West,” Shyamalan says. They then used the musical themes from SPLIT that Thordson had composed for that film. He also composed new themes specific to GLASS. Finally, for flashback scenes from UNBREAKABLE, they used the original score from that film.
“It was an evolution,” Shyamalan says. “West was on the movie for a good eleven months, I think. This was a really big commitment. He moved to Philadelphia, set up his stuff at our offices and at his home in Philadelphia, and just went for it. And he has a really unusual way of approaching it.”
Through the process of Split and Glass, Thordson and Shyamalan found that they are creative kindred spirits, in a way. “Authenticity is our main objective as filmmakers, and everything you hear in the movie is practically done by West,” Shyamalan says. “It’s created by him, synthesized and moved by him in some way. It’s one man’s tastes helping me tell my story, so you’re getting these very strong, bold moves.”
Prior to the opening of the film, I spoke with West Dylan Thordson more in-depth about the trilogy and a score that’s filled with sonic sounds that will resonate with audiences and make you believe superpeople walk among us.
WAMG: The music cue at the end of SPLIT with the big reveal of Bruce Willis and the tie to UNBREAKABLE – it’s all the audience needed. The title SPLIT fills the screen along with your music. Willis’ character didn’t need to utter a word, the audience lost their minds (including me!) Did you already have a sequel in mind when composing for SPLIT?
West Dylan Thordson: Definitely in regard to Split as it’s own entity, but not so much as a film that would lead to a third movie. Early on, Night and I discussed that Split was tied to Unbreakable. There were many conversations about what this meant for our approach to the score. When Unbreakable first came out, I watched it twice in a row. On the first watch, I remember not knowing quite what to think but felt compelled to watch it again. So i did and loved it. This stuck with me. For Split, I wrote a number of cue sketches that had clear and intentional influence from James’ score. Specifically a piece titled ‘Meeting the Others.’ It sort of became my Split-style reply to Unbreakable. Other Unbreakable-influenced ideas were set aside because Night felt strongly that we should primarily strive for something entirely unique to Split. So we ended up focusing the score on not referencing Unbreakable too heavily.
Bruce Willis as David Dunn/The Overseer.
WAMG: How early were you brought onto GLASS?
West Dylan Thordson: I started sketching ideas soon after Night completed the screenplay. Not long after this, he began shooting the film. When they set up shop at the Allentown State Hospital, I spent a lot of time on set. The hospital complex had lots of huge, empty buildings with a tunnel system connecting them. I found numerous vast spaces with fantastic acoustics. So soon after getting there, I brought in an assortment of drums and percussion. On several nights, after the crew fully wrapped, I’d go in and record ideas using a Nagra-style mobile rig with a VR mic and some Coles 4038s. Usually starting from 9pm and going until 4am. The only people around would be a couple roaming security guards. The property was so large, it was almost like no one else was around. Felt very Kubrickian, creepy, and uncomfortable. I must admit though, I relish in that sort of thing. My friend, the violinist Tim Fain, even came there. At the hospital, we recorded much of the violin work used in the score. Mostly in the underground tunnel system, but also in the enormous upstairs auditorium and the actual “Pink Room.” I often turned all the lights off when recording to avoid capturing the fluorescent light buzzing. Tim was admittedly terrified much of the time, but he never once hesitated on continuing. So I have to give Tim huge props on being a true artist and professional!
WAMG: Did you collaborate with James Newton Howard on GLASS, the composer for SPLIT?
West Dylan Thordson: This was discussed a lot early on, but for whatever reason, it was decided not to bring him in. I felt privileged to have the chance to collaborate with James but only had the opportunity to meet him once in person. Really enjoyed our conversation, brief as it was. He’s a fantastic composer and influence.
WAMG: What was it like to work again with M. Night Shyamalan?
West Dylan Thordson: Night is an extremely collaborative filmmaker, and it was an honor to be asked back. Having developed communication with each other helped us immensely. Trust was established. It made it much easier to get on the right path when discussing something into existence like music.
(from left) Writer-director M. Night Shyamalan and Bruce Willis, who plays David Dunn/The Overseer.
WAMG: Can the audience expect a “superhero” type score?
West Dylan Thordson: Not really. Yet I wouldn’t say we completely avoided “superhero” music either. We generally aimed away from a tradition “superhero” score in an attempt for something a bit askew and nonderivative. I feel Night chooses a very difficult approach to filmmaking. He’s after things that are complex and difficult to achieve cinematically, yet not in an esoteric way. He genuinely wants to make films that many people connect to, though veering on the fringe of what many people might accept.
WAMG: Shyamalan’s previous films have a theme. SIGNS was about “faith”. Will the music for GLASS have a theme, like “belief” and believing people have “powers”, whether they are villains or superheroes?
West Dylan Thordson: Thematically, belief and doubt are definitely focal. I’d say acceptance of light and dark, along with a grounded sense of humanity are in there too.
WAMG: Talk to me about your previous work on JOY with David O’Russell?
West Dylan Thordson: David’s an intensely creative person to be around. I’m proud to have worked with him. He definitely wasn’t easy to work with, but I certainly didn’t get into film music because it’s easy. There was never anything predictable with David. His approach was rapidly evolving and re-inventive. It often wasn’t possible to keep up, so it generally seemed best for me to wing it and roll with everything as fast as possible. The moment music was written, it was time to let go. There was no room to get attached to anything I did. In the end, David focused in on music with me that he felt was earnest and sincere. Honestly, this all was a great thing for a film composer to experience, accept, and evolve through.
WAMG: How did you begin composing for film and why you like composing for the medium?
West Dylan Thordson: When I was a child, my grandparent’s farmhouse had an old, somewhat-in-tune, spinet piano next to this huge, wood-enclosed TV set. I loved music with films, TV, and video games, so I would sit at the piano a lot trying to plunk out my versions of things. No one in my family was a studied musician, so I ended up starting out self-taught. As a result, I mostly began in music as a misfit amongst the misfits of the experimental indie band world. Though much of the band music I worked on was very rough around the edges, it felt cinematic at heart. It seemed to naturally spark interest with certain filmmakers. The music supervisor Sue Jacobs was the person who really made it happen for me in the world of film. It’s been a long process, and I’m really just starting. With scoring film, there generally needs to be a willingness for constant adaptation, and an ability to quickly detach from one’s work. Much of what I love about composing for film is the collaborative energy, desperation, and tension of it. Learning to evolve with the ever-changing visions of others. I love that the art form pushes me outside of myself and my head. I love attempting to create music that unearths something within the story that could not be experienced otherwise.
The GLASS soundtrack will be released digitally next Friday, January 18 and is now available for pre-order on iTunes HERE.
WaterTower Music is excited to announce the release of the soundtrack to AQUAMAN, the action-packed adventure film from director James Wan that spans the vast, visually breathtaking underwater world of the seven seas.
The soundtrack is now available, and the film is in theaters on December 21.
AQUAMAN features an original score by multi-award-winning composer Rupert Gregson-Williams (Wonder Woman, Hotel Rwanda, Hacksaw Ridge), includes a track by composer Joseph Bishara (The Conjuring, Annabelle) and debuts the new songs “Ocean To Ocean” by Pitbull Feat. Rhea, and the end title song “Everything I Need” by Skylar Grey.
To bring the film’s themes to life musically, Aquaman director James Wan turned to composer Rupert Gregson-Williams, who says, “Writing the themes for the different characters was awesome. Arthur Curry has such a strong character—he’s a real rock star—so I felt he deserved a big melody. He gets to rock out for certain intense moments too. Orm is Atlantean, and the score I wrote for Atlantis is in big contrast to the score for the surface world, epic and glorious. Black Manta inspired a more industrial, electronic feel. And, of course, there’s romance—two in fact. Atlantis and the entire world James created is truly amazing, giving me such a rich opportunity.”
“James Wan has given me such a rare opportunity and I am so unbelievably grateful,” explains Skylar Grey. “James, score composer Rupert Gregson-Williams, as well as every person behind the scenes on this project has been a dream to work with…a team of extremely respectful and professional people who I’m now honored to call friends. ‘Everything I Need,’ written by myself and my fiancé, Elliott Taylor, was inspired by the forbidden love story that is threaded throughout the movie, and we are very passionate about this song.”
“The ocean, the sea and any body of water, to me, is true freedom,” said Armando Christian Perez (Pitbull), who was inspired by the film’s settings and themes, and especially by Aquaman’s struggle between his two worlds—the surface and the sea. “The ocean has always been the border from where my parents came from Cuba and the United States, which gives us freedom. That’s why I respect water. Bottom line: water gives us freedom.”
Tracklising:
1. Everything I Need (Film Version) – Skylar Grey
2. Arthur
3. Kingdom Of Atlantis
4. It Wasn’t Meant To Be
5. Atlantean Soldiers
6. What Does That Even Mean?
7. The Legend Of Atlan
8. Swimming Lessons
9. The Black Manta
10. What Could Be Greater Than A King?
11. Permission To Come Aboard
12. Suited And Booted
13. Between Land And Sea
14. He Commands The Sea
15. Map In A Bottle
16. The Ring Of Fire
17. Reunited
18. Everything I Need – Skylar Grey
19. Ocean To Ocean – Pitbull feat. Rhea
20. Trench Engaged (from Kingdom of the Trench) – Joseph Bishara
From Warner Bros. Pictures and director James Wan comes an action-packed adventure that spans the vast, visually breathtaking underwater world of the seven seas, Aquaman, starring Jason Momoa in the title role. The film reveals the origin story of half-surface dweller, half-Atlantean Arthur Curry and takes him on the journey of his lifetime—one that will not only force him to face who he really is, but to discover if he is worthy of who he was born to be…a king.
The film also stars Amber Heard; Oscar nominee Willem Dafoe; Patrick Wilson; Dolph Lundgren; Yahya Abdul-Mateen II; and Oscar winner Nicole Kidman. Also featured are Ludi Lin and Temuera Morrison. Wan directed from a screenplay by David Leslie Johnson-McGoldrick and Will Beall, story by Geoff Johns & James Wan and Will Beall, based on characters created by Paul Norris and Mort Weisinger for DC. The film was produced by Peter Safran and Rob Cowan, with Deborah Snyder, Zack Snyder, Jon Berg, Geoff Johns and Walter Hamada serving as executive producers.
Warner Bros. Pictures Presents a Peter Safran Production, a James Wan Film, Aquaman. The film is being released in 3D and 2D and IMAX, and will be distributed worldwide by Warner Bros. Pictures. Aquaman is rated PG-13 for sequences of sci-fi violence and action, and for some language.
WaterTower Music has announced the details of the soundtrack to acclaimed filmmaker Christopher Nolan’s epic action thriller DUNKIRK. The album features an original score by Academy-, Golden Globe-, and Grammy Award-winning composer Hans Zimmer, who previously collaborated with Nolan on the director’s Interstellar, Inception, and The Dark Knight Trilogy.
The soundtrack will be released both digitally and on CD on the same date that the film is in theatres, July 21. It features a powerful and unique score unlike anything produced before by this formidable and inspired artistic pairing.
“Dunkirk is one of the greatest suspense stories of all time, and our film needed a score to reflect that and to propel the audience through a telling of this story that is more thriller than war film,” explained Christopher Nolan. “Hans’s unique score drives the visceral sense of action the film needs to put the audience right into the story, using images, sound and music.”
The Dunkirk: Original Motion Picture Soundtrack will be available July 21, and is now available for pre-order.
The track listing is as follows:
The Mole We Need Our Army Back Shivering Soldier Supermarine The Tide Regimental Brothers Impulse Home The Oil Variation 15 (Dunkirk) End Titles
From filmmaker Christopher Nolan comes the epic action thriller Dunkirk. Nolan directed Dunkirk from his own original screenplay, utilizing a mixture of IMAX and 65mm film to bring the story to the screen.
Dunkirk opens as hundreds of thousands of British and Allied troops are surrounded by enemy forces. Trapped on the beach with their backs to the sea they face an impossible situation as the enemy closes in.
The film’s ensemble cast includes Fionn Whitehead, Tom Glynn-Carney, Jack Lowden, Harry Styles, Aneurin Barnard, James D’Arcy and Barry Keoghan, with Kenneth Branagh, Cillian Murphy, Mark Rylance and Tom Hardy.
The film was produced by Nolan and Emma Thomas, with Jake Myers serving as executive producer.
Warner Bros. Pictures presents a Syncopy Production a film by Christopher Nolan, DUNKIRK. Opening worldwide starting , the film will be distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company.
This film has been rated PG-13 for intense war experience and some language.
