Soundtrack – Page 5 – We Are Movie Geeks

Henry Jackman Creates An Epic Action Score for THE INTERVIEW

Award-winning composer Henry Jackman delivers an epic score to North Korea’s favorite comedy THE INTERVIEW, directed by Evan Goldberg and Seth Rogen.

Jackman’s score is ironically-serious and over-the-top, qualities the directors enjoyed from the score for their previous film, THIS IS THE END.

In THE INTERVIEW, journalists Dave Skylark (James Franco) and Aaron Rapoport (Seth Rogen) land an interview with North Korea’s dictator, Kim Jong Un, for their popular tabloid-TV show. As the duo prepare for their journey, the CIA enlists them to carry out an incredible mission: Assassinate Kim Jong Un.

This film marks the second collaboration between Jackman and the film’s directors Goldberg and Rogen, previously scoring their apocalypse comedy THIS IS THE END.

THE INTERVIEW opens in theaters on December 25th. The soundtrack will be released on January 13th 2015 by La-La Land Records.

Jackman began his solo career in 2009, and in just five years, he has established himself as a dynamic and prolific film composer.

His music is featured in films in all genres, scoring animated films (Big Hero 6, Wreck-It Ralph), action-adventures (Captain America: The Winter Soldier, X-Men: First Class, Kick-Ass 1&2), comedies (This is the End) and dramas (Captain Phillips).

Read our interview with him HERE.

Henry Jackman began composing music from age six and after studying classical music at St. Paul’s Cathedral Choir School, Eton College, and Oxford University, he immersed himself in the underground rave and electronica scene. Jackman’s broad music sensibilities is evident when creating music, and his ability to invent compelling scores as well as co-write and produce songs caught the attention of acclaimed film composer Hans Zimmer. Under Zimmer’s wing, Jackman contributed additional music on films such as The Dark Knight and the Pirates of the Caribbean films before developing his solo composing career.

Jackman’s upcoming projects include the British action-spy film Kingsman: The Secret Service, in theaters February 13, 2015, and the third installment of the Marvel’s Captain America: Civil War.

Composer John Powell Talks HOW TO TRAIN YOUR DRAGON 2 & His New Oratorio

In June 2014, moviegoers traveled to the village of Berk once again in HOW TO TRAIN YOUR DRAGON 2. The film’s composer, John Powell, recently won Best Score – Animated Film for the movie at 5th Annual Hollywood Music in Media Awards.

Powell has scored films including Antz, Chicken Run, Shrek, Mr. and Mrs. Smith, and X-Men: The Last Stand and has frequently collaborated with directors Doug Liman and Paul Greengrass, on films including the BOURNE trilogy, UNITED 93 and GREEN ZONE.

His infectious score for HOW TO TRAIN YOUR DRAGON earned him his first Academy Award nomination. Powell has also lent his voice to the score of DR. SEUSS’ THE LORAX, and ICE AGE 4: CONTINENTAL DRIFT. Most recently, audiences heard his music on the scores to RIO 2, directed by Carlos Saldanha, as well as the DRAGON 2 sequel.

With the latest adventures of Hiccup and Toothless released on DVD in November, we caught up with the composer to discuss his music on DRAGON, his break from film scoring and his oratorio called “The Prussian Requiem” to commemorate World War I, premiering in London in 2016.

WAMG: For those who follow what’s going on in the world of movies and film composers, you’ve been in the news a lot lately. You recently won Best Score – Animated Film for How To Train Your Dragon 2 at 5th Annual Hollywood Music in Media Awards. The sequel came out on DVD in November. You went to the Governors Awards ceremony.

John Powell: I seem to have been at everything recently, I must admit. Our producer, Bonnie Arnold, she’s been taking me to all these things. We went to the Britannia Awards – I think she just took me because I’m British – then the Governors Awards.

We went to the Hollywood Film Awards where we won Best Animation, which was great.

WAMG: What was it like to be there, because watching from home, it looked hilarious.

JP: It was great fun. I sat behind Keira Knightley and Benedict Cumberbatch and Harvey Weinstein. It was kind of like hanging out inside your TV, it was very odd.

WAMG: It was really funny when Jennifer Lopez got up on stage and called it “How To Drain Your Dragon.”

JP: We’ve called it all sorts of names, much worse than that. (laughs) Yeah, that was cool.

WAMG: DRAGON 2 is another fantastic score. You’ve really outdone yourself with the music and it’s a really sophisticated kind of soundtrack. Were you surprised initially on how well the first movie was received?

JP: Yes. I said this at the time – you try your best on every movie – whether it’s a good movie or a bad movie. I absolutely give it my all. And that one I absolutely gave my all to. The interesting thing, I worked for so long with Jeffrey Katzenberg, but I’d always been in collaboration with other composers – Hans (Zimmer) and Harry (Gregson-Williams) – and strangely enough this was the first one I had done on my own. So it was a slightly different environment I found myself in. I probably felt that I had to show Jeffrey that I can do it on my own, in case he thinks I can’t.

He’s never even suggested he didn’t have complete faith in me, but because I had always been there with somebody else, it would always be kind of a game we’d play about who can re-write a cue better than each other – whether it’s Hans/me or Harry/me – we’d constantly battle over these cues together with Jeffrey and really try and get something good.

On the first DRAGON, I thought I’ve got to make sure I get every cue right and the tunes as well. Often when you’re with Hans, and you’re working on tunes – he’s very good at tunes, he sorts out tunes easy – if you’ve got a problem with a tune or Jeffrey doesn’t like a tune, you just throw it to him. With HOW TO TRAIN YOUR DRAGON, I had to get the tunes just right and it was a struggle. Often I spent quite a lot of time finalizing and getting the balance of the tunes as I wrote the cues. But with DRAGONS 2, obviously it was really a question of we had all the tunes from the original movie and Jeffrey liked those, but my director rather smartly had denied everybody the first movie’s soundtrack temped into this film – he just wouldn’t do it, he refused to do it.

There was lots of BATMAN BEGINS and all sorts of things (laughs). Until very near the end, there was no music from DRAGON 1. That made it harder for them as filmmakers and would have made their lives easier to have that initial relief that the score was going to work the same way. Until I really started writing it, they couldn’t relax and it gave me a chance to write a whole load of new material and a new way of working. I think it gave us a chance to mature the score as the film matured, as you say, make it a little more sophisticated, while hanging onto the same “heart” that it comes from.

WAMG: There are many new emotional elements to the story and score. You have the mother-son story and your lovely track “Flying With Mother“. How’d that track in particular come about.

JP: They had lots of material, nothing from the first film except a little bit in the front and they had a song by Jonsi written for that moment that you’re talking about and it was light for quite a long time until near the end. There was something about the structure of the film and having a song at that point, everybody kind of tuned out because it was a song, I suppose it may be felt a little bit less like you were you’re inside the scene.

Right at the last moment, I had to score that moment as well. I hadn’t expected that and it’s a tune I call “Lost and Found”. It starts when you see Valka being taken away – where Hiccup loses his mother as a baby. That tune starts there and it runs throughout the movie. I was really trying to make sure it worked when Hiccup and Toothless get back together after his hypnotic state with Drago.

Then I have to make this joyful moment with is mother and that was a real puzzle as I hadn’t expecting it to be joyful. It had been desgined to be honorable and heroic and tragic at some points. I never thought of it as being upbeat, so it took me awhile to get that tune to work there. I was pleased with it myself.

WAMG: Who said, “we need to get together with Jonsi for the end title song, Where No One Goes?”

JP: Jonsi is a very good friend of Dean’s (DeBlois), our director, and they’ve known each other for years now. Dean is a huge fan of the band Sigur Rós. When it came to the first movie and Jonsi gave us this song off his new album, “Stick and Stones,” I just liked it because it was so different. Not what you expect in an end title, because they can be awfully kind of sickly and sloshy. I was very pleased we went that direction.

When it came to this film, Dean said to me, “Would you like to work with Jonsi on some things for the movie?” Of course I said yes because I’ve always liked Sigur Rós and their music. So we got to write the song that the mother and father sing together and we got to work on the end song which is basically a remix of some of the material from the first movie for the Hiccup and Toothless flying tune. I gave Jonsi a load of new versions of that and he wrote a song around it. It feels like the DNA of the movie and Jonsi’s style for the end titles of DRAGON 1. We did a fully finished version of that for the end titles as well where we rolled into that through that last section as they’re wrapping up the movie.

WAMG: The drums really tie it all together.

JP: Yes, very much. The drummer is from Finland that Jonsi loves and lets him go wild. There’s all this crazy drumming going on. I just threw in some of the string licks and some of the melodies from the flying stuff. It sits well under dialogue that way as you hit the end title and we can go into the song proper as Jonsi comes in singing.

WAMG: The choral parts streamed throughout gives it this operatic feel.

JP: Right! I’ve always loved working with voices. Voices give you this instant humanity. You can write them nondescript and they’ll blend into the background like an orchestral color. But if you bring them forward, you can use them a little more aggressively within the orchestration style.

One of the ways to do that is to put words with it. There’s a few places where they are singing words. You were talking about the mother and child reunion as it were in the middle of the movie that has some words in Gaelic which is a Scottish language. I found some poems from the 17th century and I used some lines from those. That whole section is sung in Gaelic and allows the voices to use a little more rhythm once they’ve got words to hang onto.

It’s not unconnected that I’m working on an oratorio, so I probably wrote quite heavily for the choir as an experiment.

WAMG: If I can go back to one of your earlier works, CHICKEN RUN. The film and score are still lively and funny. How has writing for animation films changed for you over the years?

JP: I was brought up watching all sorts of animation – Disney, Warner Bros., Chuck Jones – Tom & Jerry. Then I became a teenager and I really loved “Ren & Stimpy” and “The Animaniacs”. My favorite is “Freakazoid!”. I’ve never been into Anime. I must admit that’s the only animation style I’ve not really liked – I don’t know why. Except for Miyazaki, he transcends the style. All this other animation that I was brought up on, it went in without me thinking about it. I get to Hollywood and I’m looking around for gigs and Hans introduces me to Jeffrey and we start working on PRINCE OF EGYPT. I just fell into animation and it happens that I really enjoy it! I love the artwork, I love the styles of animation that DreamWorks has done, that Blue Sky has done. I’m a huge fan of Pixar.

There are such great animators around at the moment – it’s a real Golden Age. I’ve really loved working with all these people. I’ve loved the way they tell stories. In a way, I love them more than live action because often it’s not so obsessed with a warrior and fighting and violence, I mean I’ve done my fair share of that. I’d like to see if I can bring something into the world that’s more about beauty or joy.

WAMG: One of your other scores is DRUMLINE. The drums seems to be prevalent in many of your films. Do you tend to gravitate to a heavy percussive sound in general?

JP: I’m not sure I do it deliberately. With everyone’s style, if you look at how people sound – why is it I sound the way I sound, why does Hans sound the way he sounds, why does John Williams sound the way he does? Over our lives, you experience lots of different types of music and it’s during those moments – and it doesn’t matter if you’re 3 or 30 – you’re struck by some special piece of music or one sound in a piece of music that it becomes what I call a fetish and you just love it so much. The trumpet solo from AN AMERICAN IN PARIS, from the sexy kind of dance in that. That trumpet sound to me is perfection. It’s a moment when one trumpet is playing a tune, admittedly by Gershwin, a genius, but the playing of it as well expresses every longing any human being has ever felt. It was the deepest and most earthly lustful sound I’d ever heard.

For my whole life, if I have a trumpet line, I’m forever obsessing about how close to that sound I can get. You don’t do it in the front of your brain, you do it in the back of your brain. In the ten thousand moments in my life, up until now that I’ve loved obsessively just as a listener and they’re all in there and they’re all trying to get out all the time. That’s what’s constantly within the sound of anything I’m trying to do.

As far as percussion, when I was at music college, I remember being introduced to the room where they had record players and a collection of World Music and I’d never heard any World Music before. I’m in there listening to the drummers of Burundi and lots and lots of West African drumming, and Tibetan Music and all of it was eye opening. I was in college studying music composition and Brahms and Beethoven, but to have this access to all this World Music, which at the time was hard to find and I didn’t have the money to have big record collection, was remarkable. What I had amassed up to that point was only Classical records and suddenly here was a thousand records that I would have never bought on my own and I’m sifting through and l listening to these amazing things.

That particular fetish started then. (laughs) The strange thing, when it came to DRUMLINE, I was offered it because the director liked something I’d already done. For me being British, and it was quite a while ago when I did it, a marching band was not something that you would ever think of as the pinnacle of musical achievement. The marching band is something you would try to avoid. I didn’t realize there is this incredible tradition, so the director and Fox said, “No, no, we’re going to send you a DVD” and it was all these Southern bands. I couldn’t believe it, they were funky as hell! This was not my expectation and I didn’t know any of this world at all.

Getting this DVD and hearing this stuff, I was completely surprised. I said yes immediately. I met with the director (Marc Lawrence) and we started work on it. It opened my eyes to another source of really interesting drumming styles and percussion styles that I’d never have gotten to otherwise. That was a really lucky moment and that style has definitely been filtering into my scoring every year since. It was a seminal moment for me as far as percussion goes. Any appearance of my disapproval of that style of music was completely blown apart once I saw this.

One of the things I had to do a lot of was matching the percussion players. Every time you’re seeing people playing the big bass drum, they sound great if you’ve got fifty of them playing out on the field – you can’t get that bottom end from them. Every time you see it and it sounds nice and rich and warm, that’s me with a 808 drum kit. We went back in to make sure it really kicked and there are all sorts of fun tricks we had to do to make sure it sounded really good. There’s a little bit of the Earth, Wind and Fire horns going on whenever you hear the hero band and they stayed as funky as the band in the film – they just added a little tuning perfection that allowed us to push it up a little more.

A lot of the drum battles, between the drummers, were rerecorded with a very famous drummer who was the only one who could watch them and listen to them and then recreate what they were doing so we could get the sound better sometimes. There were little tricks but the drumming you see is as it was. We kind of gave it that Hollywood thing.

WAMG: Sounds like you really enjoy going between the two genres.

JP: I seem to have gotten out of live-action recently. Partly because I was getting bored with the music I was being asked to write for. They tended to be trying to get the music to be less and less. One film I was doing where I’m asked to come up with a three note tune and the director asked me if I really needed all three. At that point, I wondered if I really want to do this.

Again, you tend to get stuck into action films, they tend to be violent, they were getting pernicious. I didn’t feel as if I was doing myself or the world any good. I found I was enjoying writing for all these animation films. It’s very hard work and more notes, but you get to write more tuneful music, more joyful music.

WAMG: Will you do DRAGON 3 before your oratorio that you’re working on?

JP: Well yes. The idea is that 2017 now is DRAGON 3 and I’ll definitely do that one. Between now and then, I’ve got the oratorio in London in the spring of 2016. We’ll record it at the end of next summer.

WAMG: So you’re still working on it.

JP: Yes. Absolutely.

WAMG: Will you score KUNG FU PANDA 3?

JP: I don’t know about that one. I doubt that very much. There are plenty of people who can do that.

WAMG: IMDB has you listed on ZOOTOPIA.

JP: Ah no. But if it’s a sequel to ZOOLANDER, I’ll definitely do that! (Laughs)

WAMG: Your oratorio – if you had to compare it to classical, traditional composers, will it sound like Handel or Bach?

JP: That’s a very good question. Does it sound like me in Hollywood or does it sound like me before? Before I came to Hollywood, I was a little bit more radical sounding so I’m not really sure yet. One of the things that I’m fascinated by at the moment is polyphony, so I’m studying more polyphony and I think I’m trying to make it sound more polyphonic than one would expect these days. I’m trying to see if I can do something interesting with that idea now – maybe refresh it. It hasn’t been used an awful lot.

The piece itself is a story driven by a man who took a moment in history and stood between the chance of peace and the chance of war. His own pride made us go to World War I and basically destroyed the 20th century. Everything bad that is still happening, you can trace to this one moment in history at the end of July in 1914. The Kaiser had the option to negotiate with France and/or Russia so that he wasn’t fighting on all fronts. If he had only fought on one front, the whole first war may have been very different. Maybe it wouldn’t have become a world war with so many Allies being brought in. It may have become a war but not a war that setup the whole of the 20th century’s downfall in a way. It may have not led to the second world war, the rise of Hitler, the rise of Communism, it goes on and on and on. There’s a whole political view I have of the 20th century.

It’s what we’re still dealing with based on the futility of this moment of a man with hubris and pride. He worked on the Schlieffen plan for ten years and he came from a hugely famous Prussian military family, he had a lot to live up to and there was no way he was going to let them negotiate peace at that moment before the war started. He wanted his place in history and he wasn’t going let any of it stop him. At that moment when all the negotiations could happen, he was persuaded that it was never going to work.

The final name of the oratorio is called “The Prussian Requiem” because Prussia, where he came from and was part of Germany, was basically wiped off the map at the end of the first world war. It had such a political hold over Germany the Allies decided this is where all the problems were coming from, so they got rid of it as a place and it became just Germany. Prussia was a country until 1918, so we call it “The Prussian Requiem”. It’s a requiem for the 20th century, for the people that died and I’ve wanted to write about it for a long time.

The main thing is that I wanted to make sure I had the time to make it right and that we had the right choir and the right orchestra playing it, which is the Philharmonia Orchestra – one of the most exquisite in the world. We’re doing it at the Royal Festival Hall as part of their season and I’m very pleased when it’s going to happen. We’re recording it next year.

I’m also hoping with the orchestra to try and record an album of suites of film music. I’m going to reinterpret some of the music I’ve done from films – some quite radically. There are moments in some of the pieces that are like suites and you just want to end them differently to finish the musical idea, tie them all up as well as add a few fun things that people haven’t heard before. Probably eight movies, eight suites that we can perform live with orchestras around the world and make an album of it. It will come out at Christmas next year.

The How to Train Your Dragon 2 soundtrack is available on Relativity Records.

Alberto Iglesias’s EXODUS: GODS AND KINGS Soundtrack Available Digitally on Dec 9; CD Dec 16

For the upcoming epic action-adventure EXODUS: GODS AND KINGS, acclaimed director Ridley Scott (Alien, Blade Runner, Gladiator) has recruited three-time Academy Award nominee Alberto Iglesias to compose the film score. The soundtrack will be from Sony Classical digitally on December 9 and on CD on December 16.

20th Century Fox releases EXODUS: GODS AND KINGS in theaters everywhere on December 12.

When it came to the music for his visually stunning movie, Ridley Scott has opted as much for delicate arrangements as orchestral bombast – a noteworthy decision considering the truly monumental production. Strings, choir, featured soloists and soulful vocals complement Iglesias’ trademark composing style in this breathtaking score.

Iglesias provides the biblical material a historic yet modern feel. Given the challenge of maintaining the upper hand in such a large project, the highly versatile Iglesias skillfully masters the gap between subtle emotion and martial brutality.

The recording of EXODUS: GODS AND KINGS took place at the legendary Abbey Road Studios, where John Williams recorded the “Star Wars” saga and Howard Shore his epic The Lord of the Rings.

While primarily known for his European scores for the past 20 years and for his work with arthouse favorite Pedro Almodovar, Iglesias has received Academy Award nominations for his scores for Tinker Taylor Soldier Spy, The Constant Gardener and The Kite Runner. Iglesias also received BAFTA nominations for all three scores and a Golden Globe nomination for The Kite Runner. Among his many works with Almodovar, Iglesias won Best Score at the European Film Awards and the World Soundtrack Award for Composer of the Year for Volver. With The Skin I Live In, Iglesias became the all-time leading Goya recipient in the history of Spanish Cinema and was honored with Composer of the Year Award at the 2011 Hollywood Film Festival.

Iglesias has proven his unique skill for creating smart, authentic and cleverly designed thriller scores on many occasions. His music is sophisticated, richly detailed and emotionally compelling all at once. He is also a master at adding elements of world music into a more traditional musical context. Iglesias manages to seamlessly bring dramatic ideas together to an overwhelmingly emotional whole and is extremely gifted at composing music that is both complex and emotional in effect.

EXODUS: GODS AND KINGS is the story of one man’s daring courage to take on the might of an empire. Using state of the art visual effects and 3D immersion, Scott brings new life to the story of the defiant leader Moses (Christian Bale) as he rises up against the Egyptian Pharaoh Ramses (Joel Edgerton), setting 400,000 slaves on a monumental journey of escape from Egypt and its terrifying cycle of deadly plagues.

For more information, please visit www.exodusgodsandkings.com.

INTO THE WOODS Soundtrack Available December 16

Walt Disney Records is set to release the Into the Woods original motion picture soundtrack and the Into the Woods Deluxe Edition on December 16, 2014. Into the Woods features 20 songs from the film and the 2-disc Into the Woods Deluxe Edition also includes score. Both versions are available for pre-order now.

The film will be released in theaters December 25, 2014.

“Into the Woods” premiered on Broadway on November 5, 1987, at the Martin Beck Theatre. The production, which ran for 764 performances, won Tony Awards for Best Score, Best Book of a Musical and Best Actress in a Musical. Among other awards, the musical received five Drama Desk Awards, including Best Musical. “Into the Woods” has been produced around the world, including a 1988 U.S. tour, a 1990 West End production and Broadway and London revivals, in addition to a PBS television production and a 10-year-anniversary concert.

The big-screen adaptation welcomes songs from the stage musical, including “Finale/Children Will Listen,” “Giants in the Sky,” “On the Steps of the Palace,” “No One Is Alone” and “Agony,” among others.

Starring Meryl Streep, Emily Blunt, James Corden, Anna Kendrick, Chris Pine and Johnny Depp, “Into the Woods” is a modern twist on several beloved fairy tales, intertwining the plots of a few choice stories and exploring the consequences of the characters’ wishes and quests.

This humorous and heartfelt musical follows the classic tales of Cinderella (Anna Kendrick), Little Red Riding Hood (Lilla Crawford), Jack and the Beanstalk (Daniel Huttlestone), and Rapunzel (MacKenzie Mauzy), all tied together by an original story involving a Baker and his Wife (James Corden and Emily Blunt), their wish to begin a family and their interaction with the Witch (Meryl Streep), who has put a curse on them.

Rob Marshall, the acclaimed filmmaker behind the Academy Award-winning musical “Chicago” and Disney’s “Pirates of the Caribbean: On Stranger Tides,” directs the film, which is based on the musical stage production by legendary eight-time Tony, Grammy and Oscar-winning composer and lyricist Stephen Sondheim and Tony winner James Lapine, who also wrote the screenplay. The film was produced by John DeLuca, Marshall, “Wicked” producer Marc Platt and Callum McDougall.

The Into the Woods track list follows:

1. “Prologue: Into the Woods” – Company
2. “Cinderella at the Grave” – Cinderella’s Mother
3. “Hello, Little Girl” – Wolf, Little Red Riding Hood
4. “I Know Things Now”– Little Red Riding Hood
5. “A Very Nice Prince” – Cinderella, Baker’s Wife
6. “Giants in the Sky” – Jack
7. “Agony” – Cinderella’s Prince, Rapunzel’s Prince
8. “It Takes Two” – Baker’s Wife, Baker
9. “Stay With Me” – Witch
10. “On the Steps of the Palace” – Cinderella
11. “Careful My Toe” – Stepmother, Florinda, Lucinda
12. “Ever After” (Instrumental)
13. “Witch’s Lament” – Witch
14. “Any Moment” – Cinderella’s Prince, Baker’s Wife
15. “Moments in the Woods” – Baker’s Wife
16. “Your Fault” – Jack, Baker, Little Red Riding Hood, Witch, Cinderella
17. “Last Midnight” – Witch
18. “No One Is Alone” – Cinderella, Baker, Little Red Riding Hood, Jack
19. “Finale/Children Will Listen (Part 1)” – Baker, Baker’s Wife, Witch, Company
20. “Finale/Children Will Listen (Part 2)” – Company

The Into the Woods soundtrack, 2-disc Deluxe Edition and the digital Deluxe Edition soundtrack are set for release from Walt Disney Records on December 16, 2014. The albums are available for pre-order now:

Wide Download Link: http://smarturl.it/itwdsa1
Amazon Music Smart Link (Digital): http://smarturl.it/itwdsama1
Amazon Music Smart Link (Physical): http://smarturl.it/itwsama1
Wide Streaming Partners Link: http://smarturl.it/itwdsta1

For more information on Walt Disney Records’ releases, like us on Facebook.com/ disneymusic or follow us at Twitter.com/disneymusic. To purchase Disney music, visit the online store at www.disneymusicstore.com. For more information on “Into the Woods,” like on Facebook: https://www.facebook.com/DisneyIntoTheWoods and follow on Twitter: @IntoThe Woods.

American Hustle – Original Motion Picture Soundtrack Out Friday, November 28

Madison Gate Records and Legacy Recordings, the catalog division of Sony Music Entertainment, are releasing American Hustle – Original Motion Picture Soundtrack, a collection of music from the critically-acclaimed box office hit with ten Oscar-nominations, in a two 12″ LP gatefold blue and red colored 150 gram vinyl edition featuring six songs from the movie not included on the CD version. The 12” Vinyl will be available exclusively at independent retailers, as part of Record Store Day’s annual Black Friday event on November 28, 2014.

American Hustle – Original Motion Picture Soundtrack premieres “Stream Of Stars,” a previously-unreleased song from the legendary Jeff Lynne (Electric Light Orchestra, Traveling Wilburys) alongside ELO’s “Long Black Road,” an ultra-rare track previously available only on the Japanese release of Zoom, ELO’s final studio album.

The soundtrack album showcases an array of evocative 70s classics–including Wings’ “Live And Let Die,” Donna Summer’s “I Feel Love,” Elton John’s “Goodbye Yellow Brick Road”, the Bee Gees’ “How Can You Mend A Broken Heart” and more–while introducing provocative new tracks like Lebanese-American singer Mayssa Karaa’s Arabic cover rendition of Jefferson Airplane’s “White Rabbit,” produced by multiple Grammy nominee Mark Batson (Eminem, Alicia Keys, Dave Matthews Band). Susan Jacobs served as Music Supervisor for the film’s soundtrack.

The new 12″ 2LP gatefold vinyl release of the album features six songs used in the film, which were not included on the CD. The exciting new additions to the American Hustle – Original Motion Picture Soundtrack album are songs by Steely Dan (“Dirty Work”), The Temptations (“Papa Was A Rollin’ Stone”), Todd Rundgren (“I Saw The Light”), David Bowie (“The Jean Genie”), Frank Sinatra (“The Coffee Song [They’ve Got An Awful Lot Of Coffee In Brazil]”) and Ella Fitzgerald (“It’s De-Lovely”).

Director David O. Russell meticulously supervised the creation of this exclusive vinyl edition of the soundtrack, supplying hand-written excerpts from the scrip, unique imagery from the film and artwork to enhance the look and feel of the album’s gatefold and sleeve.

Originally released on CD in December 2013, the American Hustle – Original Motion Picture Soundtrack album has sold more than 85K units in the US alone. American Hustle – Original Motion Picture Soundtrack is available on iTunes now.

Director David O. Russell deploys the music in American Hustle to drive and develop action and emotion, illuminating the interior of his characters and intensifying the 70s cultural milieu of the movie. Many film and music critics have praised the film’s music as an essential component in a thrill-packed cinematic adventure. “The movie’s exhilaration is in how Russell’s filmmaking fever lights up everything it touches,” wrote Owen Gleiberman in his “A” review of American Hustle in Entertainment Weekly (January 15, 2014).

A fictional film set in the alluring world of one of the most extraordinary scandals of the 1970s, American Hustle tells the story of brilliant con man, Irving Rosenfeld (Christian Bale), who along with his equally cunning and seductive partner, Sydney Prosser (Amy Adams), is forced to work for a wild FBI agent, Richie DiMaso (Bradley Cooper). DiMaso pushes them into a world of Jersey powerbrokers and mafia that’s as dangerous as it is enchanting. Jeremy Renner is Carmine Polito, the passionate, volatile, New Jersey political operator caught between the con-artists and Feds. Irving’s unpredictable wife, Rosalyn (Jennifer Lawrence), could be the one to pull the thread that brings the entire world crashing down. Like David O. Russell’s previous films, American Hustle defies genre to tell a story of love, reinvention, and survival. The film is directed by David O. Russell, written by Eric Warren Singer and David O. Russell, and produced by Charles Roven, Richard Suckle, Megan Ellison, and Jonathan Gordon. American Hustle won three Golden Globes including Best Picture, three BAFTA wins including Best Original Screenplay, was named ‘Best Film Of The Year’ by The New Yorker magazine, and several critics’ awards including the New York Film Critics Circle award for Best Picture and a SAG Ensemble nomination.

American Hustle – Original Motion Picture Soundtrack

2LP Colored Vinyl

Side One

1. Jeep’s Blues | Duke Ellington

2. Dirty Work | Steely Dan *

3. A Horse With No Name | America

4. 10538 Overture | Electric Light Orchestra

5. I’ve Got Your Number | Jack Jones

Side Two

1. White Rabbit | Mayssa Karaa

2. I Feel Love | Donna Summer

3. Don’t Leave Me This Way | Harold Melvin & The Blue Notes

4. Delilah | Tom Jones

Side Three

1. Live And Let Die | Wings

2. How Can You Mend A Broken Heart | Bee Gees

3. Goodbye Yellow Brick Road | Elton John

4. Papa Was A Rollin’ Stone | The Temptations*

Side Four

1. I Saw The Light | Todd Rundgren *

2. Long Black Road | Electric Light Orchestra

3. The Jean Genie | David Bowie *

4. Stream Of Stars | Jeff Lynne

5. The Coffee Song (They’ve Got An Awful Lot Of Coffee In Brazil) | Frank Sinatra *

6. It’s De-Lovely | Ella Fitzgerald *

7. Irving Montage | Danny Elfman

* Songs not on CD release

Alexandre Desplat’s THE IMITATION GAME Soundtrack Available Digitally On November 10, On CD November 24

Sony Classical has announced the release of the original motion picture soundtrack of THE IMITATION GAME, a biographical drama about the English code-breaker Alan Turing starring Benedict Cumberbatchand Keira Knightley. Composed by Alexandre Desplat, the score soundtrack will be available digitally on November 10 and on CDNovember 24.

The opening track of Desplat’s score for THE IMITATION GAME introduces a descending, rippling keyboard theme that reappears in variations in later tracks – first as a string accompaniment that sets the mood for a tragic, dramatic story. The second track skillfully interprets its title, “Enigma” (a reference to both the man Alan Turing and to the code-breaking project that made him famous), with fascinating sounds that evoke the ping of a sonar location and the underwater world, thus playing on the main theme of the story. While “U-Boats” features military sounds, other tracks such as “Carrots and Peas” provide contrasting quietness and emotion, and the musical complexity of “Crossword” relates to the workings of Turing’s brilliant mind.

Throughout the score, the full range of Desplat’s big orchestral sounds come into play, and the composer once again displays his ability to enhance dramatic film scenes with fine music that is worthy to be heard in its own right.

French composer Alexandre Desplat made his breakthrough on the Hollywood scene in 2003 by composing a highly regarded score for The Girl With the Pearl Earring. He has contributed to over 100 films in France and Hollywood, received six Oscar nominations, and won a Golden Globe in 2006 for The Painted Veil and a Grammy for The King’s Speech in 2011, both in the category Best Original Score. Desplat has also composed for the theatre, including the Comedie Francaise. He has conducted performances of his own music by the London Symphony Orchestra and the Royal Philharmonic Orchestra, as well as giving master classes at the Sorbonne in Paris and the Royal College of Music in London. He has scored music for a wide range of films from Twilight Saga: New Moon to Harry Potter and the Deathly Hallows (parts 1 and 2).

Desplat has received six Academy Award nominations for Best Original Score for his work on The Curious Case of Benjamin Button, The Queen, The King’s Speech, Fantastic Mr. Fox, Argo and his beautiful PHILOMENA.

During the winter of 1952, British authorities entered the home of mathematician, cryptanalyst and war hero Alan Turing (Benedict Cumberbatch) to investigate a reported burglary. They instead ended up arresting Turing himself on charges of ‘gross indecency’, an accusation that would lead to his devastating conviction for the criminal offense of homosexuality – little did officials know, they were actually incriminating the pioneer of modern-day computing.

Famously leading a motley group of scholars, linguists, chess champions and intelligence officers, he was credited with cracking the so-called unbreakable codes of Germany’s World War II Enigma machine. An intense and haunting portrayal of a brilliant, complicated man, The Imitation Game follows a genius who under nail-biting pressure helped to shorten the war and, in turn, save thousands of lives.

Tracklisting
1. The Imitation Game
2. Enigma
3. Alan
4. U-boats
5. Carrots and peas
6. Mission
7. Crosswords
8. Night research
9. Joan
10. Alone with numbers
11. The Machine Christopher
12. Running
13. The Headmaster
14. Decrypting
15. A different equation
16. Becoming a spy
17. The Apple
18. Farewell to Christopher
19. End of war
20. Because of you
21. Alan Turing’s legacy

Hans Zimmer’s INTERSTELLAR: Original Motion Picture Soundtrack To Be Released November 18

WaterTower Music today announced the November 18 release of Interstellar: Original Motion Picture Soundtrack, with music by renowned composer Hans Zimmer, whose career has earned him Grammy, Golden Globe, Classical Brit, Academy, Tony, and American Music Awards.

The soundtrack will be available in three configurations: a Star Wheel Constellation Chart Digipak, a deluxe digital-only version, and an Illuminated Star Projection Edition with bonus content (coming later this year).

INTERSTELLAR, from Paramount Pictures and Warner Bros. Pictures, pairs the creative forces of Hans Zimmer and esteemed director Christopher Nolan, who collaborated previously on THE DARK KNIGHT film trilogy and INCEPTION.

“Chris wanted us to push the limits,” offers Zimmer. “Every conversation was about pushing boundaries and exploring new territories. This movie virtually dictates that you put everything on the line and keep the laboratory doors wide open and experiment to the very end. It tested our limits: the limits of what musicians are capable of, the limits of what could be recorded, the limits of everyone’s stamina, commitment and invention, and I think we got it.”

“I believe that Hans’ score for Interstellar has the tightest bond between music and image that we’ve yet achieved,” Nolan reflected. “And we’re excited for people to be able to revisit the soundtrack once they’ve had the chance to experience the music in the film itself.”

Each release is now available for pre-order. The Star Wheel Constellation Digipak and the Digital Deluxe Album will be available November 18, and the Illuminated Star Projection Edition is scheduled to ship later this year.

Star Wheel Constellation Chart Digipak (Pre-Order): contains 16 tracks from the film
Digital Deluxe Album (Pre-Order) includes 22 songs from the film
The Illuminated Star Projection Edition (Pre-Order) features special illuminated star projection packaging, 2 CDs featuring 28 tracks, including 30 minutes of music unavailable anywhere else, and more.

INTERSTELLAR opens with advance screenings in IMAX 70mm film, 70mm film and 35mm film formats on Wednesday, November 5th, two days ahead of its nationwide release on November 7. The advance showings will play in select theaters in more than 240 locations across the U.S. and Canada.

INTERSTELLAR stars Matthew McConaughey, Anne Hathaway, Jessica Chastain, Bill Irwin, Ellen Burstyn, John Lithgow and Michael Caine.

With our time on Earth coming to an end, a team of explorers undertakes the most important mission in human history; traveling beyond this galaxy to discover whether mankind has a future among the stars.

Directed by Christopher Nolan, written by Jonathan Nolan and Christopher Nolan, and produced by Emma Thomas, Christopher Nolan and Lynda Obst.

Get tickets: http://interstellar.withgoogle.com/tickets

https://interstellar.withgoogle.com/

Jóhann Jóhannsson Provides The Beautiful Score For Focus Features’ THE THEORY OF EVERYTHING

Composer Jóhann Jóhannsson scores Focus Features’ THE THEORY OF EVERYTHING, directed by James Marsh.

World-premiering next month at the 2014 Toronto International Film Festival in advance of its November release in the U.S and Canada, THE THEORY OF EVERYTHING stars Eddie Redmayne (“Les Misérables”) and Felicity Jones (“The Amazing Spider-Man 2”) in the extraordinary story of one of the world’s greatest living minds, the renowned astrophysicist Stephen Hawking, who falls deeply in love with fellow Cambridge student Jane Wilde.

Jóhann Jóhannsson’s previous film credits include last year’s thriller PRISONERS, starring Hugh Jackman and Jake Gyllenhaal, as well as the crime drama MCCANICK starring David Morse and Cory Monteith’s final appearance in a feature film.

In THE THEORY OF EVERYTHING, once a healthy, active young man, Hawking received an earth-shattering diagnosis at 21 years of age. With Jane fighting tirelessly by his side, Stephen embarks on his most ambitious scientific work, studying the very thing he now has precious little of – time. Together, they defy impossible odds, breaking new ground in medicine and science, and achieving more than they could ever have dreamed.

The screenplay by Anthony McCarten is based on the memoir Travelling to Infinity: My Life with Stephen, by Jane Hawking, and is directed by Academy Award winner James Marsh (“Man on Wire”). The film’s cast also includes Charlie Cox (“Daredevil”), Academy Award nominee Emily Watson, Simon McBurney (“Magic in the Moonlight”), and David Thewlis (“Harry Potter”).

THE THEORY OF EVERYTHING opens in select cities starting November 7th.

The film boasts a beautifully poignant score by Jóhannsson depicting the ups and downs of their love story as Hawking faces a virtual death sentence from ALS.

Jóhannsson’s lovely score includes his signature blend of acoustic instruments and electronics. A keystone composer in the modern classical movement, Jóhannsson is distinguished by his ability to create soundscapes by electronically manipulating orchestral instrumentation, with an emotional range that spans from inspirational to harrowing. Jóhannsson explains, “It always involves the layers of live recordings, whether it’s orchestra or a band or solo instrument, with electronics and more soundscape-y elements which can come from various sources.”

Named a Top 12 Film Composer “On The Rise” in 2014 by Indiewire, Jóhannsson began his career composing for theater, so transitioning into film was a natural progression, as well as his involvement in scoring experimental video art projects. Jóhannsson compositions have been released through the legendary label 4AD, including IBM 1401: A User’s manual, an album composed of the sounds of an old mainframe computer.

Other recent projects include the indie drama I Am Here, starring Kim Basinger. He is currently scoring the crime drama Sicario, starring Emily Blunt and Benicio Del Toro, in theaters 2015.

Interview – WAMG Talks To EDGE OF TOMORROW Composer Christophe Beck

Award-winning composer Christophe Beck scores the action-drama EDGE OF TOMORROW, directed by Doug Liman and starring Tom Cruise and Emily Blunt. The film follows a soldier (Cruise) who finds himself caught in a time loop while battling an alien invasion.

The EDGE OF TOMORROW soundtrack will be released on Watertower Records. In theaters now, read Jim Batts’ review HERE. Earlier this week I spoke with the composer about his latest film soundtrack.

Christophe Beck is behind the score to the Golden Globe- and Oscar-winning film FROZEN. The FROZEN soundtrack, certified platinum 11 weeks after its release, has sold more than one million copies, and spent five non-consecutive weeks at No. 1 on the Billboard 200 album chart. Beck returned to the Muppets in MUPPETS MOST WANTED after scoring THE MUPPETS in 2011. He’s also scored the blockbuster HANGOVER trilogy, TOWER HEIST, DUE DATE, DATE NIGHT and PITCH PERFECT. He staged the drama for such films as WE ARE MARSHALL, PERCY JACKSON & THE OLYMPIANS: THE LIGHTNING THIEF, ELEKTRA, THE SENTINEL, UNDER THE TUSCAN SUN, and indie films YEAR OF THE DOG, PHOEBE IN WONDERLAND, SAVED! and the award-winning documentary WAITING FOR SUPERMAN.

In addition to FROZEN – which earned Beck an Annie Award for best score – his recent work includes THE INTERNSHIP, directed by Shawn Levy and starring Vince Vaughn and Owen Wilson, and RUNNER RUNNER, directed by Brad Furman and starring Ben Affleck and Justin Timberlake. Beck also composed the music for Shana Feste’s romantic drama ENDLESS LOVE.

The Canadian composer began playing piano at the age of five, studied music at Yale and attended the USC film scoring program under the tutelage of composers like Jerry Goldsmith. He started composing in television at the personal recommendation of Disney music legend Buddy Baker, and was soon writing music for the hit series “Buffy the Vampire Slayer,” earning an Emmy Award.

Liman worked with composer Christophe Beck, who created a score that captured the suspense, the action and the fun of Cage and Rita’s extraordinary journey.

WAMG:
How did you come to be on this project?

CB:
Warner Brothers had already been down the road with another composer and things were not working out and they were looking for somebody new to take over. At first they needed a European composer and I happened to be a French citizen, so that kind of got me in the mix, initially. In the end they could have hired anyone, but then I had already met with Doug (Liman, director) and things were looking pretty good. So in some ways I got really pretty lucky.

WAMG:
In a very good way, your credits are all over the map – Hangover series, Frozen, Pitch Perfect – were you looking to do a sci-fi action movie or just whatever appealed to you?

CB:
Early in my career I did a lot of comedies, and I used to let that frustrate me a little bit, in that I really wanted to do all kinds of genres. Of course as artists, we all like variety, we don’t like to repeat ourselves. But now, even though I get to do more different styles of movies, comedy is still pretty much my bread and butter. But its really not about the genre for me anymore – its more about working on hopefully good films with people in a pleasant working environment where I can feel more freedom to do great work. So its more about the people and the project than the genre.

WAMG:
What was your approach to a film like EDGE OF TOMORROW? Did you see a rough cut, or just the script?

CB:
Like I mentioned, I was the second composer on the project. So by the time I was brought on, there was already a cut in pretty good shape. I loved it when I first saw it. And I sort of had a preconceived notion before I saw it, but I’ve been a big fan of Doug’s for a while, ever since Swingers and Go, and really throughout his whole career. I was really impressed.

WAMG:
What was the level of involvement from Doug Liman? Was he hands on, making suggestions or did he just give you the reins and say do your thing?

CB:
Well, every director of course likes to be very involved, as they should be, and Doug is no exception. He really challenged me to stretch myself and to go a little outside myself, so it was a bit of an adjustment process for me to finally figure out the sort of things that Doug responded to. So for the first month or two, it was definitely a bit of a struggle to find what the sound of this film was, what kind of things I could do to support the humor, of which surprisingly, there is a large amount of in this movie. And how do you support that in this kind of a movie? I mean, of course I have done dozens of comedies, I know how to support comedy in a comedy, but its a bit of a different animal in a film like this. But once we figured those things out, the process – well I wouldn’t say the process became smoother because Doug was really pushing me from beginning to end.

Once we figured out one part of the movie, and then moved on to the next part of the movie, he was always challenging me to come up with different ways of thinking about the film. But when we got to the end, I was and am enormously proud of what we ended up with. And through the process, even though it was frustrating at times, I grew to really really respect Doug and how smart he is and how great of a director he is.

WAMG:
I know a little of your history and that you were a student of Jerry Goldsmith at USC – along with fellow composer Marco Beltrami?

CB:
Yeah! My friend and classmate Marco Beltrami. In fact we actually partnered up for awhile the first couple of years out of school – we were the Beck-Beltrami composing team. But that kind of fell apart after like 3 jobs in a row where they fired me and kept him. That’s the actual truth of it, actually! And we’re still very good friends.

Jerry (Goldsmith) was a revelation to me. I didn’t pay much attention to film music, beyond what a typical movie fan would. My heart was set on becoming a rock star when I was growing up. It wasn’t until I came out and did the USC program that I really thought about doing film music myself, and that’s when I was exposed to Jerry, being one of my teachers and getting curiouser and curiouser about about his work and going back into his catalog and listening to a bunch stuff he had done.

I think his greatest quality and what he talked about all the time to our class, is something that I take with me even today – is just be economical with your music and not have too many ideas in a piece of music. Making more music out of fewer and his ability to do that is almost Beethovian! You listen to, for example, a piece of action music in one of his films – he uses the repeating piano/strings/bass line, there’s the main theme in that, in the pattern of those notes. He makes so much great music out of so very few good ideas. And that’s a real challenge when you’re film composing, to be able to make it sound like one cohesive journey.

WAMG:
Some of your more recent films like Frozen, Burlesque and Pitch Perfect are musical by nature. Do you find that easier or more difficult than composing for a straight drama/action film?

CB:
Well, for example you look at Pitch, you look at Burlesque, the music in the script is all this very temporary pop and Burlesque is old fashioned and a bit of a throwback and so the style is completely different and so the score would obviously be completely different as well. But its all really just storytelling, even across genres that are wildly stylistically different.

Its the same challenges – what point of view should it be with this character or that character? Does it help accent what you are already seeing or does it provide some kind of counterpoint? These are the challenges that are universal in film composing. The rest I think is style and I do do a lot of different kinds of projects and I do write a lot of different music. But ultimately its all the same, which is finding the emotional core and somehow translating that.

WAMG:
You have a lot of TV in your credits. Do you see huge differences when it comes to composing film as opposed to TV?

CB:
Well, in terms of the universal challenges we just talked about, no. But there are lots of differences in terms of the way things work day to day in TV and the main one is the amount of music that has to be written in such a tight schedule. On a film, I can luxuriate, only having to write 1 or 2 minutes a day, or if the mood strikes to really zero in on one short section and spend the whole day on one stupid detail. But in TV, you don’t have that luxury. The phone calls come in with requests to do this particular scene, and on a film it’s like “sure, I’ll get it to you in a few days, no problem,” but in TV its like ok we need it in 3 hours. It’s insane to keep that kind of pace up week in and week out. I don’t know how I did it.

WAMG:
And these were big hit shows like Buffy the Vampire Slayer and The Practice…

BC:
We cut a lot of music and it was all big music. Of course we didn’t have the money to hire orchestras for all those episodes, so it was “fake orchestra” and it took a lot of time to put all that together.

WAMG:
Speaking of orchestras, I know some composers just like being in their own space, composing and coming up with ideas – and then others who really enjoy being on the scoring stage with the whole orchestra, performing. Where does that process fall for you?

CB:
You know I hate to sound jaded about it because I remember how exciting it was early in my career when I got to work with orchestras. As far back as USC, we had a couple of sessions with big orchestras and they were totally magical and overwhelming and incredible. And now I’m really more of the former than the latter. I like to sit in my hovel and just be by myself. Of course orchestra sessions are enjoyable and there is always pleasure in hearing something come together that you heard for months one way and all of a sudden it sounds different and so much more lively. There’s great pleasure in that of course. But after about an hour of that, I’m ready to to go back to my studio and enjoy my tinkering.

But of course I end up staying the whole day – professional duty calls. They’re very exhausting some times, just having to listen that intently and stay that focused for the whole day.

But my sessions run pretty quickly. We don’t spend too much time on one piece of music, but we certainly focus on detail. More and more I’ve been letting some of the guys that work with me run the sessions and they’re getting really really good at it. So I can be more relaxed and let someone else be on the microphone having confrontations with the conductor. And then I can just jump in when I need to.

WAMG:
What is you’re next project – what are you currently working on?

CB:
At the moment I am working on HOT TUB TIME MACHINE 2, which is great fun with (director) Steve Pink, who is a friend and a really really nice guy. Its outrageous and hilarious, more so than the first one. I’m really having a blast.

WAMG: Thanks to Christophe Beck for taking the time to talk to us!

Oscar nominee Tom Cruise (the “Mission: Impossible” films, “Collateral,” “Jerry Maguire”) and Emily Blunt (“The Devil Wears Prada,” “The Adjustment Bureau”) star in Warner Bros. Pictures’ and Village Roadshow Pictures’ sci-fi thriller EDGE OF TOMORROW, under the direction of Doug Liman (“The Bourne Identity,” “Mr. & Mrs. Smith”).

The epic action of EDGE OF TOMORROW unfolds in a near future in which an alien race has hit the Earth in an unrelenting assault, unbeatable by any military unit in the world.

Major William Cage (Cruise) is an officer who has never seen a day of combat when he is unceremoniously dropped into what amounts to a suicide mission. Killed within minutes, Cage now finds himself inexplicably thrown into a time loop—forcing him to live out the same brutal combat over and over, fighting and dying again… and again.

But with each battle, Cage becomes able to engage the adversaries with increasing skill, alongside Special Forces warrior Rita Vrataski (Blunt). And, as Cage and Rita take the fight to the aliens, each repeated encounter gets them one step closer to defeating the enemy.

The cast also includes Bill Paxton, Brendan Gleeson, Jonas Armstrong, Tony Way, Kick Gurry, Franz Drameh, Dragomir Mrsic and Charlotte Riley.

Doug Liman directed the film from a screenplay by Christopher McQuarrie and Jez Butterworth & John-Henry Butterworth, based on the novel entitled All You Need is Kill by Hiroshi Sakurazaka.

EDGE OF TOMORROW will be distributed in 2D and 3D in select theatres and IMAX® by Warner Bros. Pictures on June 6th.

www.edgeoftomorrowmovie.com/

BAFTA Winner Steven Price Named As Composer on Edgar Wright’s ANT-MAN

Composer Steven Price has received his first Best Original Film Music accolade from the EE British Academy of Film Awards (BAFTA) for his work on director Alfonso Cuarón’s GRAVITY.

In accepting the honor Sunday night, Price said, “Thank you so much BAFTA. I share this with Alfonso. You inspired every second of this and it has been a huge honor to tell this story with you. I want to thank all the musicians who played on this score and gave the music its heartbeat, as well as everyone at Warner Bros., The Gorfaine/Schwartz Agency and all the people on this film who have been so supportive. Thank you to my mom and dad for having such a great record collection and starting this whole thing off. But most of all, thank you Gemma, my wife.”

In addition to BAFTA, Price’s music for Gravity has also been recognized with best score wins from the Broadcast Film Critics Association in addition to several best score nominations including the Oscar and the Golden Globe.

Read my interviews with the composer on THE WORLD’S END – HERE and GRAVITY – HERE.

Soon after receiving his BAFTA win yesterday, director Edgar Wright tweeted that Price will be composing the score to the upcoming feature adaptation of the Marvel comic book ANT-MAN starring Paul Rudd and Michael Douglas.

Huge congrats to @SteveBPrice for his Bafta Award for the ‘Gravity’ score. I guess I should drop the news that he is scoring ‘Ant-Man’.

— edgarwright (@edgarwright) February 16, 2014

The film marks Price’s third collaboration with Wright after working with the filmmaker on THE WORLD’S END and ATTACK THE BLOCK (the latter which Wright executive produced).

Price is presently composing the score for FURY and also wrote music for Cuarón’s new NBC series Believe which premieres on March 10 and stars Kyle MacLachlan and Delroy Lindo. Believe tells the story of a gifted young girl and a man sprung from prison, who has been tasked with protecting her from evil.

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