Edge of Tomorrow, starring Tom Cruise and Emily Blunt and directed by Doug Liman, will be released on Ultra HD Blu-ray Combo Pack and Digital on July 5, it was announced today by Warner Bros. Home Entertainment.
Directed by Doug Liman (The Bourne Identity, Mr. & Mrs. Smith), Edge of Tomorrow stars Oscar® nominee Tom Cruise (the Mission Impossible films, Top Gun: Maverick) and Emily Blunt (The Devil Wears Prada, The Adjustment Bureau).
Warner Bros. Pictures’ and Village Roadshow Pictures’ sci-fi thriller Edge of Tomorrow was directed by Liman from a screenplay by Christopher McQuarrie and Jez Butterworth & John-Henry Butterworth and based on the novel entitled “All You Need is Kill” by Hiroshi Sakurazaka. Edge of Tomorrow was the first motion picture to be shot at Warner Bros. Studios Leavesden.
Edge of Tomorrow was produced by Erwin Stoff, Tom Lassally, Jeffrey Silver, Gregory Jacobs and Jason Hoffs, alongside executive producers Doug Liman, David Bartis, Joby Harold, Hidemi Fukuhara and Bruce Berman, with Tim Lewis and Kim Winther serving as co-producers.
Supporting Cruise and Blunt is an international cast that includes Bill Paxton (Aliens, HBO’s “Big Love”), Brendan Gleeson (Harry Potter and the Deathly Hallows: Part 1), Noah Taylor (Lawless), Kick Gurry (Australian TV’s “Tangle”), Dragomir Mrsic (Snabba Cash II), Charlotte Riley (World Without End), Jonas Armstrong (BBC TV’s “Robin Hood”), Franz Drameh (Attack the Block), Masayoshi Haneda (Emperor) and Tony Way (The Girl with the Dragon Tattoo).
Ultra HD* showcases 4K resolution with High Dynamic Range (HDR) and a wider color spectrum, offering consumers brighter, deeper, more lifelike colors for a home entertainment viewing experience like never before.
Edge of Tomorrowwill be available on Ultra HD Blu-ray Combo Pack for $24.99 ERP and includes an Ultra HD Blu-ray disc with the feature film in 4K with HDR and a Digital download of the film. Fans can also own Edge of Tomorrowin 4K Ultra HD via purchase from select digital retailers beginning on July 5.
An alien race, undefeatable by any existing military unit, has launched a relentless attack on Earth, and Major William Cage (Tom Cruise) finds himself dropped into a suicide mission. Killed within minutes, Cage is thrown into a time loop, forced to live out the same brutal combat over and over, fighting and dying again and again. Training alongside Rita Vrataski (Emily Blunt), his skills slowly evolve, and each battle moves them a step closer to defeating the enemy in this intense action thriller.
Ultra HD Blu-ray Elements
Edge of TomorrowUltra HD Blu-ray contains the following previously released special features:
Operation Downfall – Adrenaline Cut
Storming The Beach
Weapons Of The Future
Creatures Not Of This World
On The Edge With Doug Liman
Deleted Scenes
Ultra HD Blu ray $24.99* Standard Street Date: 7/5/22 EST Street Date: 7/5/22
Ultra HD Blu ray Languages: English, Spanish, French
Ultra HD Blu ray Subtitles: English SDH, Spanish, Parisian French Run Time: 113 minutes
Rating: PG 13 for intense sequences of sci fi action and violence, language and brief suggestive material
Evelyn (Emily Blunt) braves the unknown in “A Quiet Place Part II.”
If there is one film that will get people back in the theaters, it is without a doubt A QUIET PLACE II. 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. The film opens in theaters May 28.
On Tuesday, Emily Blunt and Howard Stern discussed A QUIET PLACE as well as A QUIET PLACE PART II, but the biggest takeaway from the interview was the rumor about FANTASTIC FOUR casting.
Word on the street was they’d been cast to portray the superhero group’s romantically entwined characters: Sue Storm, a.k.a. the Invisible Woman, and Reed Richards, a.k.a. the ultra-stretchy Mr. Fantastic.
“That is fan-casting. No one has received a phone call,” Blunt told Howard. “That’s just people saying, ‘Wouldn’t that be great?’”
Considering A QUIET PLACE PART II features a world ravaged by an unexpected and difficult to understand menace, Howard thought his guest’s new film was perfect for the COVID-19 era.
“It’s sort of eerie how much the themes resonate with people much more now,” Emily agreed. “The world expands [in “Part II.”] The family’s home has been decimated, so they have to venture out, and it’s like which neighborhood will extend their hand to you? Who wants to help you and touch you and look out for you?”
The movie premiered in New York City last March just as the pandemic grabbed ahold of the world. As the public health situation worsened, Krasinski decided to pull the film from theaters just before its wide release. Now, over a year later, “A Quiet Place Part II” finally has its chance to shine.
“I feel like I’ve been sitting on my hands for a year, waiting for people to see it with my knees juggling. I just want people to see it so badly,” Emily said. “I never tell people to see my films, ever—this one is such an inspired sequel and I’m really proud of it.”
Before it went to Scarlett Johansson, Emily Blunt passed on the role of Black Widow. She explains the contract issue that forced the decision while talking with Howard Stern.
Lastly, the two discussed where the long-awaited sequel for EDGE OF TOMORROW stands along with Blunt’s thoughts on the original movie and working with Tom Cruise.
In Universal Pictures’ AMERICAN MADE, Tom Cruise reunites with his EDGE OF TOMORROW director, Doug Liman (The Bourne Identity, Mr. and Mrs. Smith), in this international escapade based on the outrageous (and real) exploits of a hustler and pilot unexpectedly recruited by the CIA to run one of the biggest covert operations in U.S. history.
Check out the first trailer now.
Based on a true story, AMERICAN MADE co-stars Domhnall Gleeson, Sarah Wright, E. Roger Mitchell, Jesse Plemons, Lola Kirke, Alejandro Edda, Benito Martinez, Caleb Landry Jones and Jayma Mays.
EDGE OF TOMORROW was one of the best surprises in 2014. Combined with a lot of action and tremendous humor, the sci-fi adventure became an instant hit with audiences, grossed $111.1 million the weekend it opened in June 2014, made it the number one film internationally and worldwide.
In Jim Batts review, he described Liman’s film as, “a wild ride and an entertainment blockbuster.”
Tom Cruise and director Doug Liman
AMERICAN MADE is produced by Imagine Entertainment’s Academy Award-winning producer Brian Grazer (A Beautiful Mind), Cross Creek Pictures’ Brian Oliver (Black Swan) and Tyler Thompson (Everest), Quadrant Pictures’ Doug Davison (The Departed), and Kim Roth (Inside Man). Gary Spinelli wrote the screenplay.
Jerry Goldsmith, PLANET OF THE APES (1968) Nominee for Best Original Score for a Motion Picture
By Michelle McCue and Melissa Thompson
As 2014 comes to a close, we take a look back at some of the best movie music from this past year. The backbone of any movie, audiences heard rocket engines roar, traveled through LEGO worlds and made spiritual connections all thanks to the musical vision of the composer.
In a mix that was soulful, haunting and fun, this year’s soundtracks covered a range of emotions, from light to dark, to atmospheric and assaultive.
Our Top 15 scores wouldn’t be complete without an honorable mention…
Michael Giacchino – DAWN OF THE PLANET OF THE APES
The story about the birth of a civilization and “restart” for the planet Earth was no more prevalent than with the emotional reality of composer Michael Giacchino’s score. Director Matt Reeves’ sequel to 2011’s Rise of the Planet of the Apes found its musical language through the empathetic sounds of the apes in the environment Caesar has created for them.
Making his fifth collaboration with filmmaker Christopher Nolan, composer Hans Zimmer steered clear of any musical expressions he’d explored in the past with the director, and invented a whole new palette for the film with the earthy yet elevating notes of an organ.
We went for a spectacular adventure on a journey into the universe and Zimmer’s score gave humanity’s mission to the stars a very primeval quality.
2. Alexandre Desplat – THE IMITATION GAME, GODZILLA and THE GRAND BUDAPEST HOTEL
Three of the best scores this year, six-time Academy Award Nominee Alexandre Desplat’s music was heard by audiences throughout 2014.
Desplat developed one of his most unusual scores for THE GRAND BUDAPEST HOTEL – one played entirely without traditional orchestral instruments. Instead, he brought in a host of Central European instruments, including balalaikas and the cimbalom, a type of hammered dulcimer common to Eastern European gypsy music.
With THE IMITATION GAME, the composer took us to the Bletchley Park codebreaking centre and inside the Enigma machine. Desplat may see his first Oscar win with his beautiful score to the Alan Turing biopic.
Lastly with the great force of GODZILLA propelling the action and keeping the tension high, Desplat made a big sonic impact with the music. “I’ve never done a monster movie before, so coming to this with more than a hundred musicians—double brass, double horns—allowed me to open the frame of my imagination to another territory, and that’s very exciting.”
3. Jóhann Jóhannsson – THE THEORY OF EVERYTHING
Filled with a charming score, composer Jóhann Jóhannsson’s music for director James Marsh’s THE THEORY OF EVERYTHING was a mix of orchestral instruments and synthesized sounds giving the story of astrophysicist Stephen Hawking and Jane Wilde an ethereal, lovely sound.
David Fincher returned again to work with Trent Reznor and Atticus Ross (THE SOCIAL NETWORK, THE GIRL WITH THE DRAGON TATTOO) for the surging undertow to GONE GIRL.
Trent Reznor said, “In terms of the palette of sounds what’s unique on this one is that we used a more organic, less synthetic soundscape. We didn’t want it to feel too slick so we used a lot of interesting homemade equipment. There are moments where the rhythm is just me tapping on a wooden box so it feels repetitive but drifts around a bit like a human heartbeat.”
5. Antonio Sánchez – BIRDMAN or The Unexpected Virtue of Ignorance
Drums, cymbals, sticks, mallets and rods were used for the percussion heavy score in director Alejandro G. Iñárritu’s BIRDMAN or The Unexpected Virtue of Ignorance. Four-time Grammy Award winner and composer Antonio Sanchez effectively sets the pace and rhythm to convey Riggan Thomson’s (Michael Keaton) tonal tightrope between comedy and pathos, illusion and reality.
Composer John Powell’s fantastic soundtrack on HOW TO TRAIN YOUR DRAGON 2 was filled with emotional triumphant orchestral pieces and a resounding chorus making it one of our favorites scores of the year.
7. Henry Jackman – BIG HERO 6, THE INTERVIEW and CAPTAIN AMERICA: THE WINTER SOLDIER
Jackman had three big scores in 2014.
He composed a grandiose action score for North Korea’s favorite film – THE INTERVIEW. While building on his previous collaboration with Evan Golderberg and Seth Rogen on THIS IS THE END, Jackman scored the film as if it were a classic action-blockbuster to ground the film’s comedic moments. Jackman also created a score that celebrated the comic-book style action of BIG HERO 6, while weaving in the original music from American rock band Fall Out Boy.
But none was more epic than Jackman’s contemporary take on his superhero score for CAPTAIN AMERICA: THE WINTER SOLDIER. Up next for Jackman is Kingsman: Secret Service and Marvel’s Captain America: Civil War.
Just as Price did on his Oscar-winning score for GRAVITY, where the sounds of radio waves were incorporated into the score, the British composer was able to find a distinctive voice for the music of FURY by using unusual and unconventional instruments in a fusion with the orchestral, choral and solo writing featured throughout. The daunting sounds put the audience inside the WWII tanks alongside Brad Pitt and his crew.
Marco Beltrami’ s created a rustic sounding landscape in director Tommy Lee Jones’ THE HOMESMAN. Alongside his work on SNOWPIERCER, THE GIVER and THE NOVEMBER MAN in 2014, the Oscar-nominated composer’s score for THE HOMESMAN evoked the desolation of the homesteaders by drawing out the essence of the wind with an innovative wind piano that contained 175 feet long wires.
10. James Newton Howard – MALEFICENT and THE HUNGER GAMES: MOCKINGJAY – PART 1
The sweeping emotions and volatile moods of THE HUNGER GAMES: MOCKINGJAY – PART 1 and MALEFICENT are evoked not only in the performances and visual designs but in the music, which once again is driven by an original orchestral score from eight time Oscar nominee James Newton Howard. The music for both films cover the whole breadth of experience from scenes of epic action to moments of epic heartache and intimate poignancy.
Howard also composed the score for Dan Gilroy’s NIGHTCRAWLER and Edward Zwick’s PAWN SACRIFICE.
11. Hanan Townshend – THE BETTER ANGELS
Directed by A.J. Edwards, executive produced by Terrence Malick with a beautiful score by Hanan Townshend (TO THE WONDER), THE BETTER ANGELS music took a poetic approach to Abraham Lincoln’s childhood in the harsh wilderness of Indiana.
12. EDGE OF TOMORROW – Christophe Beck
The composer created a score that captured the suspense, the action and the fun of Cage (Tom Cruise) and Rita’s (Emily Blunt) extraordinary journey in director Doug Liman’s awesome EDGE OF TOMORROW.
Combining a rich orchestral score with familiar rock tunes, composer Tyler Bates’ score for director James Gunn’s GUARDIANS OF THE GALAXY was one of the most popular of the year.
The soundtrack featured classic 1970s songs like Blue Swede’s “Hooked on a Feeling,” “I’m Not in Love” by 10cc, Redbone’s “Come and Get Your Love,” and The Runaways’ “Cherry Bomb.”
Bates also composed the score for the heart-pounding revenge thriller JOHN WICK starring Keanu Reeves.
Another beautiful score from composer Alex Ebert (ALL IS LOST), the haunting music for director J.C. Chandor’s A MOST VIOLENT YEAR transported audiences into the treacherous yet stunning landscape of NYC, 1981. Ebert’s score uses piano, synth, and percussion to capture the tension and emotional pressure faced by Oscar Isaac’s Abel Morales, as he fights to protect his business and family.
Displaying his versatility, Ebert also recently composed the score for Disney’s animated short FEAST, which is currently being shown in theaters prior to BIG HERO 6.
Brick by Brick, composer Mark Mothersbaugh’s fun score for THE LEGO MOVIE
Filmgoers went along for the hilarious ride with Emmet, Wyldstyle, Vitruvius, Lord Business, Unikitty, Batman, Benny the Spaceman and Bad Cop/Good Cop and it truly was the most AWESOME time at a movie theater this year!
Listen as The Hollywood Reporter discusses with Marco Beltrami (The Homesman), Danny Elfman (Big Eyes), John Powell (How To Train Your Dragon 2), Trent Reznor (Gone Girl) and Hans Zimmer (Interstellar) the process behind scoring the top films of the year.
Warner Bros. Pictures’ and Village Roadshow Pictures’ EDGE OF TOMORROW grossed $111.1 million, making it the weekend’s #1 film internationally and worldwide.
Read Melissa Thompson’s interview with the film’s composer, Christophe Beck, HERE.
Internationally, the film has been in limited release for 12 days, including Wednesday openings, and debuted in an additional 36 countries over the weekend, earning an impressive $82 million, including returns in Russia with $8.6 million, China with $25 million, and Korea at $16.6 million. The international cumulative gross now stands at $111 million. On the domestic side, in its first three days of release, EDGE OF TOMORROW has grossed $29.1 million, bringing the worldwide total to $140.1 million..
Rentrak’s Senior Media Analyst Paul Dergarabedian commented, “Warner Bros. “Edge of Tomorrow” puts the international marketplace on “Cruise” control topping the chart with $82 million in 63 markets while Disney’s “Maleficent” reaches $335 million worldwide. Fox’s “The Fault in Our Stars” in just 17 territories draws $17.1 million in its first weekend.” The film took in $48.2M making it the number one film domestically.
Sony’s 22 JUMP STREET, which opens June 13, gets a jump on the North American release with $8.8 million.
Oscar nominee Tom Cruise and Emily Blunt star in Warner Bros. Pictures’ and Village Roadshow Pictures’ sci-fi thriller EDGE OF TOMORROW, under the direction of Doug Liman.
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 international cast also includes Bill Paxton, Brendan Gleeson, Noah Taylor, Kick Gurry, Dragomir Mrsic, Charlotte Riley, Jonas Armstrong, Franz Drameh, Masayoshi Haneda and Tony Way.
Liman directed EDGE OF TOMORROW 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.
This movie has been rated PG-13 for intense sequences of sci-fi action and violence, language and brief suggestive material.
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 Beckis 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.
Award-winning composer Christophe Beck (The Hangover I & II, Waiting For Superman) 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.
Listen to a preview of the soundtrack below.
Want to hear more? Check out 4 tracks from the upcoming EDGE OF TOMORROW soundtrack HERE.
Christophe Beck credits display his ability to find the tone of film in any genre. In 2000, the cheerleading comedy Bring It On launched Beck’s prolific film scoring career. His credits include The Hangover, the highest-grossing R-rated comedy of all time, Under the Tuscan Sun, Red, Burlesque, What Happens in Vegas, and the heartwarming film, Crazy, Stupid, Love demonstrated Christophe Beck’s ability to convey a spectrum of emotion, with his varying tones throughout the film. The same year, he won the Hollywood Music and Media Award for “Best Original Score” for the powerful documentary Waiting for Superman.
The Montreal native graduated from Yale with a degree in Music. Following Yale, Beck moved to L.A. to attend USC’s Film Scoring program. A personal recommendation from the legendary Buddy Baker, led to his first assignment for the TV series, White Fang. Soon thereafter, Christophe Beck was asked to score a new TV series, Buffy, based on the movie Buffy The Vampire Slayer for which he received an Emmy.
The EDGE OF TOMORROW score album will be released on Watertower records.
Tom Cruise and Emily Blunt star in Warner Bros. Pictures’ and Village Roadshow Pictures’ sci-fi thriller EDGE OF TOMORROW. The epic action unfolds in the near future in which an alien race has hit the Earth in an unrelenting assault, unbeatable by any military unit in the world.
Lt. Col. Bill 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 international cast also includes Bill Paxton, Brendan Gleeson, Jonas Armstrong, Tony Way, Kick Gurry, Franz Drameh, Dragomir Mrsic and Charlotte Riley.
Doug Liman directs 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.
This movie has been rated PG-13 for intense sequences of sci-fi action and violence, language and brief suggestive material.
3 Premieres, 3 Countries, 1 Day. On Wednesday (May 28), the “Red Carpet Repeat” Fan Event took place celebrating the upcoming release of Warner Bros. Pictures’ and Village Roadshow Pictures’ sci-fi thriller EDGE OF TOMORROW.
The three premieres took place in London, Paris and New York and was attended by key cast members including Tom Cruise, Emily Blunt and the film’s director, Doug Liman.
Check out the highlights and photos from EDGE OF TOMORROW’s Global Premiere Event.
Tom Cruise and Emily Blunt star in Warner Bros. Pictures’ and Village Roadshow Pictures’ sci-fi thriller EDGE OF TOMORROW. The epic action unfolds in the near future in which an alien race has hit the Earth in an unrelenting assault, unbeatable by any military unit in the world.
Lt. Col. Bill 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 international cast also includes Bill Paxton, Brendan Gleeson, Jonas Armstrong, Tony Way, Kick Gurry, Franz Drameh, Dragomir Mrsic and Charlotte Riley.
EDGE OF TOMORROW will be distributed in 2D and 3D in select theatres and IMAX® by Warner Bros. Pictures on June 6th.
This movie has been rated PG-13 for intense sequences of sci-fi action and violence, language and brief suggestive material.
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.
Tom Cruise and Emily Blunt star in Warner Bros. Pictures’ and Village Roadshow Pictures’ sci-fi thriller EDGE OF TOMORROW. The epic action unfolds in the near future in which an alien race has hit the Earth in an unrelenting assault, unbeatable by any military unit in the world.
Lt. Col. Bill 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 international cast also includes Bill Paxton, Brendan Gleeson, Jonas Armstrong, Tony Way, Kick Gurry, Franz Drameh, Dragomir Mrsic and Charlotte Riley.
EDGE OF TOMORROW will be distributed in 2D and 3D in select theatres and IMAX® by Warner Bros. Pictures on June 6th.
WAMG invites you to enter for a chance to win a pass (good for 2) to the advance screening of EDGE OF TOMORROW on Monday, June 2nd at 7PM.
ANSWER THE FOLLOWING:
In EDGE OF TOMORROW, actor Bill Paxton plays ‘Master Sgt. Farell,’ a proud, lifelong GI getting his troops ready for one last stand in preventing the aliens from annihilating mankind.
Paxton previously played a “grunt” in an iconic sci-fi action film.
Name the film
His character
The futuristic military branch he belongs to
OFFICIAL RULES:
1. YOU MUST BE IN THE ST. LOUIS AREA THE DAY OF THE SCREENING.
2. ENTER YOUR NAME AND ANSWER IN OUR COMMENTS SECTION BELOW.
3. YOU MUST SUBMIT THE CORRECT ANSWER TO OUR QUESTION ABOVE TO WIN.
NO PURCHASE NECESSARY
This movie has been rated PG-13 for intense sequences of sci-fi action and violence, language and brief suggestive material.
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.
Get a look at a bunch of new photos from Warner Bros. Pictures’ EDGE OF TOMORROW. Opening domestically on June 6, the film will be distributed in 2D and 3D in select theatres and IMAX.
In EDGE OF TOMORROW, the world is at war with an indefatigable alien force no army, let alone individual, can conquer, and the greatest battle is still to come. Countless men and women will fight and all will be lost to these “Mimics,” unless the United Defense Force’s least likely recruit can succeed in employing a most implausible strategy: Live. Die. Repeat.
In the film, Tom Cruise plays Major William Cage, a military PR man who’s never been to the front line but who, thanks to his ill-advised threat to a four-star general, ends up trapped in an alien-induced time loop, fighting for his life… and death.
Read Variety’s review HERE. “The pleasure of EDGE OF TOMORROW is that it’s not an action movie first and foremost, but rather a cheeky little puzzle picture in expensive-looking blockbuster drag.”
Edward Douglas of ComingSoon.net says “EDGE OF TOMORROW is actually so effective and fun that it’s probably one of the first big surprises of the summer.”
Director Doug Liman was drawn to the project by the extreme and extremely unusual circumstances in which Cage finds himself. “The concept of this really unique time loop hooked me in,” he says.
“It opened everything up and created an opportunity to explore what was interesting about Tom’s character and to witness, day after day of the same day, what takes Cage to the brink. It also forces him to become not only the soldier, but the man, he has to be. When I find a project like this, that has a deeper meaning conveyed with tremendous action and great humor, that’s a movie I want to make.”
Cage’s unusual situation stems from his first—and seemingly last—battle with an alien. He quickly loses, and should lose his life, but has the unique ability to “reset” the day, waking once again in the exact location, at the exact moment, he did that morning. Justifiably, utterly confused, Cage can’t understand why no one else seems to be aware of the horrific events that already happened. Rather, they are prepping for the very fight they unknowingly have already lost.
Cruise says he was intrigued by these wholly unforeseen, highly undesirable circumstances and the way his character reacts to them. “The structure of the story and the way the time loop works allow the audience to come in, understand the rules, and then go right along with Cage on a constant accelerative progression. Even though he is living the same day over and over, it never feels the same because his behavior always changes; he always moves the action forward.”
Liman expands, “Everybody else is going to keep doing the same thing; the only thing Cage has control over are his own actions.”
Emily Blunt stars as the soldier who makes it possible for Cage to maintain that forward momentum: Sgt. Rita Vrataski, the resistance’s greatest warrior. “I was really excited to play someone as tough, badass and physically dangerous as Rita. But when I read the script, mixed in with this very cool story and intense action sequences I also found a lot of laughs, as well as incredible determination and perserverance of the human spirit.”
On May 28, the stars of EDGE OF TOMORROW will take part in a groundbreaking worldwide event when, for the first time ever, three fan premieres will be held in three different countries in just one day, “resetting” the red carpet as Tom Cruiseand Emily Blunt race the clock to make each event before time runs out.
In EDGE OF TOMORROW, Cruise’s character relives the events of one day over and over in an epic battle to save the world. The story begins as he arrives in London, making that city the perfect place to kick off this global event. All times are local:
7:00 a.m. inaugural premiere kicks off on the carpet in London, with a 9:00 a.m. screening.
The film takes both characters to France, where they face off against an insurmountable army of alien invaders.
2:00 p.m. red carpet in Paris, screening at 4:00 p.m.
The final premiere will take the stars back to the U.S.
10:00 p.m. red carpet in New York City, with the final screening—on the edge of tomorrow—at 11:59 p.m.
Between cities, Cruise, Blunt and the film’s director, Doug Liman, will interact with fans via social media as they jet from country to country. A contingent of select press will travel to each premiere, covering the events as they unfold.
There will be live stream components for each of the three events. Those fans on the ground can network via social media using #EOTLive.
The international cast also includes Bill Paxton, Brendan Gleeson, Jonas Armstrong, Tony Way, Kick Gurry, Franz Drameh, Dragomir Mrsic and Charlotte Riley.
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.
This movie has been rated PG-13 for intense sequences of sci-fi action and violence, language and brief suggestive material.
