THIS WINTER… THE GREATER THE SPY, THE BIGGER THE LIE. FROM THE TWISTED MIND OF MATTHEW VAUGHN, DIRECTOR OF KINGSMAN. UNIVERSAL PICTURES AND APPLE ORIGINAL FILMS PRESENT HENRY CAVILL, BRYCE DALLAS HOWARD, SAM ROCKWELL, BRYAN CRANSTON, CATHERINE O’HARA, DUA LIPA, ARIANA DEBOSE, JON CENA AND SAMUEL L. JACKSON IN ARGYLLE.
Rated PG-13 for strong violence and action and some strong language.
L to R: Henry Cavill, Dua Lipa, and John Cena in ARGYLLE, directed by Matthew Vaughn
The greater the spy, the bigger the lie.
From the twisted mind of Matthew Vaughn (Kingsman franchise, Kick-Ass) comes Argylle, a razor-witted, reality-bending, globe-encircling spy thriller.
Bryce Dallas Howard (Jurassic World franchise) is Elly Conway, the reclusive author of a series of best-selling espionage novels, whose idea of bliss is a night at home with her computer and her cat, Alfie. But when the plots of Elly’s fictional books—which center on secret agent Argylle and his mission to unravel a global spy syndicate—begin to mirror the covert actions of a real-life spy organization, quiet evenings at home become a thing of the past.
Accompanied by Aiden (Oscar® winner Sam Rockwell), a cat-allergic spy, Elly (carrying Alfie in her backpack) races across the world to stay one step ahead of the killers as the line between Elly’s fictional world and her real one begins to blur.
The top-flight ensemble cast features Henry Cavill (The Witcher), John Cena (Fast X), Oscar® winner Ariana DeBose (West Side Story), Grammy winning pop superstar Dua Lipa (Barbie), Emmy winner and Oscar® nominee Bryan Cranston (Breaking Bad), Emmy winner and comedy icon Catherine O’Hara (Schitt’s Creek), Sofia Boutella (Kingsman: The Secret Service), and the legendary Samuel L. Jackson. Alfie is played by Chip, the real-life cat of supermodel Claudia Vaughn (née Schiffer).
Argylle is directed and produced by Matthew Vaughn, from a screenplay by Jason Fuchs (Wonder Woman). The film is produced by Matthew Vaughn, Adam Bohling (Kingsmanfranchise), Jason Fuchs, and David Reid (Kingsman franchise). The executive producers are Adam Fishbach, Zygi Kamasa, Carlos Peres and Claudia Vaughn.
Apple Original Films presents, in association with MARV, a Cloudy production. Argylle is distributed by Universal Pictures.
Director Matthew Vaughn with Chip the cat (playing Alfie) on the set of ARGYLLE
From the twisted mind of Matthew Vaughn (Kingsman franchise, Kick-Ass) comes ARGYLLE, a razor-witted, reality-bending, globe-encircling spy thriller.
Bryce Dallas Howard (Jurassic World franchise) is Elly Conway, the reclusive author of a series of best-selling espionage novels, whose idea of bliss is a night at home with her computer and her cat, Alfie. But when the plots of Elly’s fictional books—which center on secret agent Argylle and his mission to unravel a global spy syndicate—begin to mirror the covert actions of a real-life spy organization, quiet evenings at home become a thing of the past.
Accompanied by Aiden (Oscar® winner Sam Rockwell), a cat-allergic spy, Elly (carrying Alfie in her backpack) races across the world to stay one step ahead of the killers as the line between Elly’s fictional world and her real one begins to blur.
The top-flight ensemble cast features Henry Cavill (The Witcher), John Cena (Fast X), Oscar®winner Ariana DeBose (West Side Story), Grammy winning pop superstar Dua Lipa (Barbie), Emmy winner and Oscar® nominee Bryan Cranston (Breaking Bad), Emmy winner and comedy icon Catherine O’Hara (Schitt’sCreek), Sofia Boutella (Kingsman: The Secret Service), and the legendary Samuel L. Jackson. Alfie is played by Chip, the real-life cat of supermodel Claudia Vaughn (née Schiffer).
L to R: Henry Cavill, Dua Lipa, and John Cena in ARGYLLE, directed by Matthew VaughnL to R: Sam Rockwell as Aiden and Bryce Dallas Howard is Elly Conway in ARGYLLE, directed by Matthew VaughnBryce Dallas Howard is Elly Conway in ARGYLLE, directed by Matthew Vaughn
ARGYLLE is directed and produced by Matthew Vaughn, from a screenplay by Jason Fuchs (I Still See You). The film is produced by Matthew Vaughn, Adam Bohling (Kingsman franchise), Jason Fuchs, and David Reid (Kingsman franchise). The executive producers are Adam Fishbach, ZygiKamasa, Carlos Peres and Claudia Vaughn.
Apple Original Films presents, in association with MARV, a Cloudy production. Argylle is distributed by Universal Pictures.
Argylle will be released in US and UK cinemas on February 2nd.
So, here’s a bit of a “flip”. This pre-holiday Wednesday sees the release of two sequels, SING 2 and MATRIX: THE RESURRECTION (not that unusual for the big studios). So, what almost “balances” them out? Why a “prequel”, naturally. And though you’d think that the first film of this franchise back in 2015 would count as an “origin” story, this one goes further back. Much further, nearly a hundred years really. In that first flick, a super-secret society was in full operation, but we didn’t know how or when it was first formed. Well, wonder no more. It’s time to head down for a “fitting” and learn about that original “sharp-dressed man”, THE KING’S MAN.
It all really begins near the turn of the 20th century, as the wife and son of British military man Orlando Oxford (Ralph Fiennes) visit him at a remote foreign outpost. A surprise attack results in tragedy despite the best efforts of their trusted valet, Shola (Djimon Hounsou). The now widowed Oxford must raise his son alone. As he becomes a strapping teenager, Conrad (Harris Dickinson) displays great fighting skills as he trains with Shola. Ah, but the now Duke of Oxford will not allow his son to follow him into the armed forces. This even after a meeting with old friend General Kitchener (Charles Dance) and his aide Morton (Matthew Goode) concerning foreign agents activity. Most of these operatives are part of the “Shepherd’s Flock” who report to a mysterious shadowy leader working atop a nearly impenetrable mountain mesa. At his table are Mata Hari (Valerie Pachner), Hanussen (Daniel Bruhl), and the sinister Rasputin (Rhys Ifans). They devise a plan to plunge Europe into world war by manipulating King George, Kaiser Wilheim, and Tsar Nicholas (all played by Tom Hollander). When one of these spies tries to kill Conrad, the Duke decides to get involved and confess that he’s using his own spy network of servants, with the help of Shola and housekeeper/nanny Polly (Gemma Arterton). As global conflict looms the quartet travels the globe trying to thwart the master plans of “The Shepherd”. But when war does break out can the Duke stop his son from enlisting? And should he expand his society in order to prevent future masterminds?
After the previous films in the series, it’s a bit of a surprise that the main “man of action” this time out is screen vet Fiennes. He propels the story deftly going from will action, yes I know there are doubles, but it’s still fairly impressive) and moments of great sorrow and angst. Earlier this year he did great work on THE DIG (if you’ve got Netflix make time for this) and NO TIME TO DIE (a pro-active “M”), and he does the “heavy lifting” on the uneven script. The Duke can’t quite bring the same intensity to his son’s character. Conrad is earnest, smart, but a bit bland despite the best efforts of Dickinson. Aside from butting heads with his papa, he’s a catalyst to the agency’s start. Ifans seems to be having a grand time as the truly unstoppable real-life ghoul of history, Rasputin, exuding unbridled lust and feral ferocity. He doesn’t give off the same exotic charisma as Christopher Lee did over fifty years ago, but he’s a worthy adversary for the Oxfords. Hounsou is a terrific advisor and “gadget guru” as he toils in the shadows making much more of an impression than the criminality underused Arterton as third-in-command Molly. She does make a mark in a big action sequence, then seems to vanish for too many scenes only popping up to inspire the Duke and hint at her romantic “pining” for him. My hopes that we’d see a bit of her Gretel role in this film were coldly dashed. Almost having as much fun as Ifans is Hollander who juggles lots of mannerisms and accents in his multiple roles.
Veteran franchise director Matthew Vaughn still brings a lot of kinetic energy to the splashy action sequences, though his jumps into ultra “slo-mo” can curtail the momentum. Unfortunately, these bits of daring feel few and “far between”. There seem to be far too many conversations setting the historical settings and the big action-setpiece final act. Perhaps another “pass’ at the script that Vaughn co-wrote with Karl Gajdusek might have smoothed it out. As it stands, the script lurches about, changing tone so swiftly as to induce whiplash. One minute it’s a tragic adventure, then suddenly it’s a raucous comedy full of buffoonish caricatures, then it’s a tale of high political intrigue. The biggest stumble might be a sequence set during the “last great war’ with the trenches seemingly leftover from the much-better 1917, along with a desperate clash in “No Man’s Land” that pales next to a certain Amazon’s charge toward the guns. Its harsh reality doesn’t fit with the outrageous fantasy elements, let alone the raunchy slapstick of the ghoulish horny Russian. Then all the plots collapse on themselves (blackmail in the White House), in order to get to the “franchise formation”. It just all feels tired and more than a little stale (the film’s been sitting in a vault for two years, so it’s well past its “expiration date”). If you’re in the mood for a big comics-inspired “thrill-machine” there are much better choices than the tepid, tedious, “back-story” of THE KING’S MAN.
1.5 Out of 4
THE KING’S MAN opens in theatres everywhere on Wednesday, December 22, 2021
As a collection of history’s worst tyrants and criminal masterminds gather to plot a war to wipe out millions, one man must race against time to stop them. Discover the origins of the very first independent intelligence agency in “The King’s Man.” “The King’s Man” is directed by Matthew Vaughn and stars Ralph Fiennes, Gemma Arterton, Rhys Ifans, Matthew Goode, Tom Hollander, Harris Dickinson, Daniel Brühl, with Djimon Hounsou, and Charles Dance. Matthew Vaughn, David Reid and Adam Bohling are the producers, and Mark Millar, Dave Gibbons, Stephen Marks, Claudia Vaughn and Ralph Fiennes serve as executive producers. “The King’s Man” is based on the comic book “The Secret Service” by Mark Millar and Dave Gibbons, and the story is by Matthew Vaughn and the screenplay is by Matthew Vaughn & Karl Gajdusek.
Directed by Matthew Vaughn, “The King’s Man” opens in theaters on December 22.
Rated R
For a chance to win 2 free passes to the advance screening on Thursday, December 16th, 7pm at the AMC Creve Coeur 12, enter at the link below.
Next year, we go back to where it all began. Meet THE KING’S MAN, in theaters February 2020.
As a collection of history’s worst tyrants and criminal masterminds gather to plot a war to wipe out millions, one man must race against time to stop them. Discover the origins of the very first independent intelligence agency in THE KING’S MAN.
Directed by Matthew Vaughn, THE KING’S MAN is coming to theaters in February 2020 from 20th Century Fox and The Walt Disney Studios.
Read Jim Batts’ review from the first movie, KINGSMAN: THE SECRET SERVICE here and KINGSMAN: THE GOLDEN CIRCLE review here.
THE SECRET SERVICE had a worldwide box office total of $414,351,546, while THE GOLDEN CIRCLE took in $410,902,662 globally. (Box Office Mojo)
Everything seems to be on track for cinema’s final months of the year. Sure, that demented clown ruled the box office for a couple of weeks, but Ben and Jake are here now with some real “Oscar bait” flicks that will usher in the season of serious film works. Hmm, not so fast. Looks like another comics-inspired franchise is blasting into the multiplex. Now, the JLA and Thor are still many weeks away, but this series is more Bond and Bourne than Marvel and DC. Oh, and it’s from graphic novel/ movie adapter veteran Matthew Vaughn. He injected most welcomed energy to the Marvel mutants with X-MEN: FIRST CLASS in 2011, just a year after spicing up that genre with the R-rated KICK-ASS. His follow-up in 2014 was the “origin/training” tale of a super-secret (“veddy veddy” hush-hush, you know) organization whose operatives are impeccably dressed, well-mannered gentlemen (think TV’s John Steed…squared) in the unexpected smash KINGSMAN: THE SECRET SERVICE. So, have they been at rest, polishing their shoes and pressing their suits in the last three years? The second in the series, KINGSMAN: THE GOLDEN CIRCLE, should answer that question.
On the streets of modern day London, Eggsy AKA Agent Galahad (Taron Egerton) is under attack by sinister forces lead by someone thought dead at the end of the last big mission, rejected agency recruit Charlie (Edward Holcroft). After escaping them, Eggsy meets up with tech-wiz Merlin (Mark Strong) under a lake (they’ve got lotsa’ underground hiding spots). Eggsy must dash away and escort his girlfriend, Princess (of Sweden, from the first flick) Tilde (Hanna Alstrom) to a birthday party for him thrown by his old “mates” from the neighborhood. But it turns out that old Charlie had a little something up his “bioniclly enhanced” sleeve. Just who is really behind this security breach? His boss, the world’s biggest drug kingpin, the master criminal genius known as Poppy (Julianne Moore). Hidden away at the top of a jungle mountain, in a village designed to look like a 1950’s neighborhood complete with a diner (she loved the nostalgia craze of the 70’s…GREASE, “Happy Days”, y’know), she unleashes deadly missiles that annihilate the Kingsman. Well, everybody but Eggsy and Merlin, luckily. They meet in a hidden room at a spirits shoppe, and open a safe containing a bottle of Kentucky bourbon. This sends them across the pond, hoping to track down their enemies. There the two men are approached by their US counterparts, the agency known as the “Statesmen”, headed by Champaign AKA “Champ” (Jeff Bridges). Merlin meets his American double (not quite), scientist Ginger (Halle Beery), while Eggsy is introduced to agents Tequila (Channing Tatum) and Whiskey (Pedro Pascal). Then Champ stuns his guests by revealing an old friend behind a one-way mirror: the supposedly deceased Harry Hart, the first Galahad (Colin Firth)! That’s just the first surprise as they join forces to thwart the deadly, devious Poppy.
Just as in the last installment, Egerton is an energetic action hero, evoking memories of Michael J. Fox in his late 80’s glory, not only in stature, but in confident attitude and charisma. Eggsy is at home hangin’ with her ‘buds or impressing royalty at a swanky. And he can literally charm the pants off a high-class “deb” who has vital intel (take that, Mr. Bond). He’s got a terrific rapport with Strong as the brainiac who can put him in his place with a quick retort. This time out, Firth is the one in need of training, since his…accident… has left him in a thick fog (butterflies appear at the worst times) and those razor-sharp reflexes are dulled (a call back to a fave scene from the first doesn’t go smoothly). The best addition and improvement is Moore’s twisted take on June Cleaver (yes, she wields a really sharp one) with the perennially peppy Poppy (just thought Samuel L Jackson was too goofy in the earlier flick). Her twinkly grin makes her demeanor near impossible to gauge giving her crimes an extra quirk. The US agents aren’t as interesting as their Brit brothers. Bridges reprises his guttural drawl , seeming more cattle baron than strategist. Berry is perky and assured, but is mostly a sounding board for Merlin as she pines to be out in the “field”. Pascal (I really thought he was Jeremy Renner when I saw the first teasers) has a good cowboy swagger as he echoes Indiana Jones with his glowing lasso and retractable bullwhip. Speaking of teasers, that sums up Tatum’s role here. Though he’s featured heavily in the marketing, his Tequila character is taken out of the story for nearly an hour, literally “on ice”. Of course, he’s great in the first encounter with Eggsy and Merlin, which gives the rest of the film a “bait and switch” vibe. But kudos to the always wonderful Bruce Greenwood for his comic turn as a funny doofus Prez.
Vaughn delivers the action goods and should satisfy the many fans of the first flick. The high-tech gadgets are inventive and fun, especially during the opening car chase (that’s something considering all the similar scenes in this year’s action movie crop). Poppy has a unique master plan that lobs a few laughs at current politics (the first one jabbed the other end of the political spectrum). And her hideout is not the standard “airplane hangar” supervillain lair (though it really resembled downtown Hill Valley from BACK TO THE FUTURE). Plus there’s another pop icon (Mark Hamill last time) that provides some nice comic bits. Unfortunately, at 140 minutes, the film feels bloated, losing some of the bouncy light spirit of the former flick. Many action set pieces go on for too long (most of the ski lift stuff) and border on tedious, with one ending trying to “top” the next. The script from Vaughn and Jane Goldman needed another pass or two to shake the “excess” off, or to tighten up some character relations (there’s little spark between Eggsy and Tilde). And the killer “robo-dogs” felt like something from a 90’s straight-to-video title. With KINGMAN: THE GOLDEN CIRCLE there’s plenty of “bang” (and “booms”) for your movie buck, but at the cost of much of the charm and wit of their introductory flick. Put the bowlers back in the hatbox till a better mission comes along
Kingsman and Statesman are kicking off ComicCon 2017. On behalf of 20th Century Fox, check out who will be attending San Diego Comic Con for KINGSMAN: THE GOLDEN CIRCLE with the brand new Character Posters.
Taron Egerton, Colin Firth, Halle Berry, Channing Tatum, Jeff Bridges and Pedro Pascal will be joined by screenwriter Jane Goldman and Kingsman co-creator and ComicCon legend Dave Gibbons for the KINGSMAN: THE GOLDEN CIRCLE Panel in Hall H on Thursday July 20th starting at 11am PT.
In director Matthew Vaughn’s KINGSMAN: THE GOLDEN CIRCLE, our heroes face a new challenge. When their headquarters are destroyed and the world is held hostage, their journey leads them to the discovery of an allied spy organization in the US called Statesman. These two elite secret organizations band together to defeat a ruthless common enemy, in order to save the world, something that’s becoming a bit of a habit for Eggsy…
Check out the rest KINGSMAN: THE GOLDEN CIRCLE Official Character Posters.
KINGSMAN: THE GOLDEN CIRCLE hits theaters everywhere on September 22, 2017.
Dexter Fletcher & Matthew Vaughn bring you the feel good film of 2016 with the upcoming film, EDDIE THE EAGLE.
Taron Egerton and Hugh Jackman star in the first trailer for the movie.
EDDIE THE EAGLE follows the realisation of the childhood dream of Michael Edwards (a.k.a Eddie), and his unflinching determination to become Great Britain’s first Olympic ski-jumper. Reluctantly aided by former ski-jumper Bronson Peary as his coach, Eddie is unwavering in his quest to reach the 1988 Calgary Winter Games. EDDIE THE EAGLE is an uplifting, inspirational story that celebrates human spirit, passion, and one man’s refusal to accept defeat.
Taron Egerton (Kingsman: The Secret Service) stars as Eddie and Hugh Jackman (Wolverine) as coach Bronson Peary. The film is directed by Dexter Fletcher (Sunshine on Leith) and produced by Matthew Vaughn (Kingsman: The Secret Service) alongside Adam Bohling, David Reid, Valerie Van Galder and Rupert Maconick.
EDDIE THE EAGLE is joined by a supporting cast that includes Jo Hartley (‘This Is England’), Tim McInnerny (‘Blackadder’), Keith Allen (‘Robin Hood’), Iris Berban (‘Rosa Roth’) and Rune Temte (‘The Last Kingdom’), Christopher Walken (‘Catch Me If You Can’) and Jim Broadbent (‘Bridget Jones’ Diary’).
EDDIE THE EAGLE will be released in the UK & Ireland by Lionsgate Films April 1st.
If there’s one film you need to see this weekend, it’s KINGSMAN: THE SECRET SERVICE. It’s funny, it’s fast-paced and it’s one insane, entertaining experience. Catch this one in the theater and with a crowd!
Based upon the acclaimed comic book and directed by Matthew Vaughn (Kick Ass, X-Men First Class), KINGSMAN: THE SECRET SERVICE tells the story of a super-secret spy organization that recruits an unrefined but promising street kid into the agency’s ultra-competitive training program just as a global threat emerges from a twisted tech genius.
Composers Henry Jackman (CAPTAIN AMERICA: THE WINTER SOLDIER) and Matthew Margeson score the spy action adventure comedy. This is the second collaboration between Jackman and Margeson, who had worked previously on KICK ASS 2. The duo supplied the soundtrack for the star-studded KINGSMAN with Oscar winners Colin Firth and Michael Caine, Oscar nominee Samuel L. Jackson, and newcomer Taron Egerton. The film also features Sophie Cookson, Mark Strong, and Mark Hamill.
Matthew Margeson is part of Hans Zimmer’s exclusive Remote Control team, and is known for his powerful arrangements and his ability to make audiences fall in love with the music instead of the movie. Margeson composed Position Music Orchestral Series Volume 5, and has provided additional music to the scores of KICK ASS, THE EXPENDABLES, and X-MEN: FIRST CLASS.
Matthew Margeson’s additional music is also featured in video games such as Monsters vs. Aliens, Lego Universe, Socom U.S. Navy Seals: Combined Assault.
Jackman and Margeson’s score for KINGSMAN delivers nail biting action sequences while emphasizing the heart of the film which lie in the relationship between Firth and Egerton.
During my recent phone conversation with Mr. Margeson, we discussed the importance of music in all of Matthew Vaughn’s films, how to “Vaughnesize” a movie, the use of Lynyrd Skynyrd’s “Free Bird” during one memorable scene, as well as his work on the upcoming SCOUTS vs. ZOMBIES.
WAMG: The film is quite a ride. Your score is a nod and wink to spy movies.
Matthew Margeson: We wanted to make it our own thing, but we definitely needed to remind ourselves it is a spy genre film.
WAMG: You’ve collaborated on KICK-ASS 2 with Henry Jackman and now on the KINGSMAN. How did the two of you get involved in Matthew Vaughn’s film?
MM: It goes back quite a few years. There were four composers on the first KICK-ASS – Marius De Vries, John Murphy, Ilan Eshkeri and Henry Jackman. There are a couple of cues where Henry was brought in, for whatever reason, and there were four of them on the project.
I think one of Matthew Vaughn’s producers went to school with Henry, so that was the initial introduction. On KICK-ASS, one of the cues on the score at the end, in the fight between Hit-Girl and Frank, Matthew was still a little unhappy with this cue. All the other composers were recording with the orchestra – they were past writing and were all on the stage recording for a week straight. There was a big question mark – how are we going to get this cue right? Henry was trusting enough to say to Matthew Vaughn, “I’ve got this friend I’ve worked with back in Los Angeles, we should give him some direction over the phone and see if we can whip something up in the next 24 hours.”
I got this phone call at eight, nine p.m. and Henry says, “listen, we’ve got a bit of an emergency and we need to rework this fight cue and send a pass back to Matthew in a day.” I did this piece and Matthew reacted really well to it. Henry worked with him throughout the film and that was my first introduction to working with Matthew Vaughn, even though it was in an indirect way.
When it came time to do a sequel to that movie, he really enjoyed what Henry did and his contribution to the pie, so he called Henry to do the score. Henry was on a couple of different projects at the same time and really wanted to do it. He said he couldn’t prepare to write an hour and twenty minutes worth of music for this score by himself, but suggested co-composers on the film with the young lad who wrote the “Frank fight” on the first KICK-ASS and Matthew took a little bit of a leap of faith. It let me take a big part of the responsibility off of Henry’s plate and we put our heads together and got it done together, while splitting the workload.
WAMG: From what you’re describing, it sounds like Matthew Vaughn really takes a vested interest in the scores for his films.
MM: He’s more involved than any other filmmaker I’ve worked with. The other extreme being someone who shoots the film and edits it, and hands it over to you and says, “here, do your thing.” What I love about working with Matthew is he’s invested in the whole entire process in post. He’ll be sitting there with the editor for days and days. We’re in Los Angeles and he’s in London, where we’ll skype or face chat, and we’ll have these daily meetings with him and he’s very clear in steering us on what he wants.
He really likes to be involved with the music. When we go to the final mix for his films, a lot of the times if you’re doing action or chase cues, with massive explosions and bullets flying across the screen, I know music is not going to win that fight. We take that into consideration. But on a Matthew Vaughn movie, when I say there’s a huge explosion there and I’m not going to win, he’ll be the first to say, “I’m in charge of what’s going to win and make the music louder.” We never have a problem with not being able to hear any of the music in a Vaughn film. An awesome position for us to be in.
WAMG: It’s a dark film. It’s a funny film. The soundtrack is very over-the-top, while being a fairly traditional score.
MM: Yes! I hate to use this cliché, but that’s part of the wink in the score and something Matthew wanted us to keep in mind the whole time we were writing. No matter what’s up on the screen, you should always be having fun. Part of the way we accomplished in this one are those moments that are so over-the-top, that you’re laughing with them. You are feeling for those characters, but at the same time it is a comic-book film. You’re always enjoying yourself and you can’t put the popcorn in your mouth fast enough, because you’re trying to keep up with the pace of the film.
WAMG: There are some great percussion cues throughout, especially in the “explosive heads” scenes.
MM: We experimented with a lot of different cues over that scene and we found what really worked was re-recording “Pomp and Circumstance.” We needed to “Vaughnesize” it and basically took Elgar’s orchestration and added some extra percussion, some extra guitars and gave it a slightly contemporary, bit more edgy theme for this world. It was an opportunity to work with the visual because everything is synced up with the explosions, so we were able to get involved with the visual effects department. We were able to tweak little things here and there to make it become a set piece. It was definitely a lot of fun.
WAMG: Who chose the songs that show up throughout, such as “Free Bird” and “Money for Nothing”?
MM: The music supervisor usually goes through a whole catalogue of songs to see what fits. I usually get involved to see if there’s an underscore cue that goes into the song or for technical consideration to make sure what key it’s in and tempo – that kind of thing. Because MARV films, the production company, in one of the five majors, Matthew will sit there and throw different things up there.
With “Free Bird,” that was one of those things that was placed in there very early on and it stuck. We tried different arrangements of “Free Bird” and since it’s set in a Baptist church in the middle of the U.S., we tried a blue-grass version. Ultimately it was just getting the multi-track from the original and doing our own deconstruction of it, because that scene is quite long.
Even though I wasn’t involved with picking “Free Bird,” I was eventually given the film because if you remember, at the very end, it breaks down to almost a piano/choir version of it when Harry is coming out of his trance and that was one instance where I did have to get involved to write with the song, so I guess I can now say that I’ve worked with Lynyrd Skynyrd. (laughs)
WAMG: The use of vocals and choir really add to the score.
MM: We had to pick and choose our moments for that because once you use a choir, there’s immediately an epicness about it. And there are moments for that in this film.
WAMG: Samuel L. Jackson’s bad guy, Valentine, has a unique sound and theme. How did that come about?
MM: As far as thematic material, his vibe was one of the most difficult times we had to really nail down. We had a tune for him that we wrote very early on, but we had to rewrite it a few times to crack the encasement of it and how it’s presented. Valentine is basically a little boy, a cartoon character – his hat is sideways and he’s funky dressed. Henry and I felt we had to play against that and make his music extremely serious – almost Wagnerian.
Although Matthew liked the tune, he felt we weren’t having enough fun. He said, “he’s a tech mogul with plans of taking over the world.” Playing out his evil scheme is with his cell phones, so Henry and I started thinking about telephones. What are some of the components we think of? Back in the 80’s and before, when you would call someone, and you couldn’t get on touch with them, you’d get a busy signal. We tried to recreate that – recorded some dial tones and busy signals and putting them through the effects chamber. Slowing them down and playing them backwards. Just doing all sorts of experiments with them in the lab here and eventually we came up with this weird, twisted reverse tone.
WAMG: It’s very effective – it really works.
MM: Thank you very much. I can proudly say it hasn’t been done before and we managed to come up with one kind of sound that you’ve never heard before in a film. It was a way to remind the viewer that Valentine is from that kind of world of cell phones and tech and how we can sprinkle that throughout the score, especially in his areas.
WAMG: After you hear it a few times, you realize it’s done on purpose.
MM: You kind of latch onto it after a while.
WAMG: How did you originally get into music? Were you the typical “band kid” at school?
MM: Yes. I started playing the piano really young. I did the whole band thing in school and at a certain point did a lot of musical theater. I was in the pit band and directing small orchestras for regional theater, and then ironically, I was working at a small video rental store in my hometown, so I was able to sit there all day and watch films. I noticed there was music throughout these movies and somebody has to be doing it. The John Williams and Alan Silvestri scores really stick with you when you’re that age while you’re watching Indiana Jones and Back to the Future. I think all those random thought processes, and being involved in directing musical theater, led me to drive out to LA and to see how I could get involved in film music.
WAMG: This must have helped with your work on INTO THE WOODS.
MM: It was such a fulfilling job to be part of INTO THE WOODS. I’m such a huge Sondheim fan and being from that world many years ago, it was really nice to get the opportunity to dive into some of those scores and to work with Rob Marshall who’s on the top of that game as far as musical theater and those movies go. It was a real treat to work on that film.
WAMG: Is there a KINGSMAN 2 in the works?
MM: I would love to tell you that I have some inside information – I know we’ve always joked about it, but a lot of it depends on how the film does. If Matthew is up for it and wants to do another one, I think we would. It’s a lot of fun and we’ve gotten a lot of good buzz from the screenings.
WAMG: How’s your upcoming project, SCOUTS vs. ZOMBIES, which I can’t wait for, coming along? (Stars Tye Sheridan and Logan Miller – slated to open October 30, 2015)
MM: When I first got involved with it, I was a little skeptical and when I sat down to watch the film I said, what do I need to do to work on this project! It is absolutely hysterical and absolutely scary at the same time.
I can promise you, it’s got some really great laughs and some awesome creepy moments too and you have Boy Scouts and Zombies, so it’s a good recipe.
WAMG: I was glad to see the movie is being released at the end of October now.
MM: After many meetings, they decided they had great success in releasing this kind of movie at Halloween. It’s a good time of year for that film and after everyone Trick-or-Treats, they’re going to want something to do.
I’m pretty sure there will be an R rating, so it does have some good action and some good chases, while at the same time, again like KINGSMAN, you’re laughing with the film. It’s a hoot.
WAMG: Is the score done, have you started recording it?
MM: Today I’m starting the last cue of the film that I need to write and get approved. We’re on the very tail end of it and we’re recording with the orchestra at the beginning of March. Some of it has been shipped off to orchestration, getting it on paper and we’ll be recording in two or three weeks.
WAMG: Thanks to Matthew Margeson for taking the time to talk to us.
The KINGSMAN: THE SECRET SERVICE soundtrack will be released on La La Land Records, February 17, 2015.
Although Winter’s in its deadly frozen final gasps, down at the ole’ multiplex it’s “spy time”. Not pining for kinky billionaires? Well, then the fine folks at Fox films have an arresting alternative. It’s not the gritty undercover antics of Jason Bourne or TINKER, TAILOR’s men, although a member of the latter group stars here. Nor is it quite as grim as the latest entries in 007’s long franchise. Oddly, you might say this is both light and dark Bond. Its sense of humor almost verges on satire and parody, but it is a dark, almost black sense of humor. After all, this new flick is rated R and goes out of its way to earn that letter, almost wearing it as a badge of honor. So, let’s leave reality and seriousness out in the parking lot. Suit up and join those dangerous dapper dudes and dames of KINGSMAN: THE SECRET SERVICE.
The mayhem commences seventeen years ago as a helicopter blasts its way into a desert fortress. A bungled interrogation takes the life of one of these black-clad agents aboard it. One of them, Harry Hart AKA “Galahad” (Colin Firth) consoles his late partner’s angry widow back in London. He tries to give her a special medallion with a phone number inscribed as part of a promise of future help from his old squad. The distraught woman will have none of it, so the coin-size memento is left with her six year-old son. Flash forward to now, as one of Galahad’s partners, Lancelot (Jack Davenport) attempts to rescue a kidnapped scientist, played by an actor sure to delight geeks of all galaxies, but is thwarted by a deadly assassin with razor-sharp scythes for legs, Gazelle (Sofia Boutella), an aide for billionaire (oops so it does have something in common with that other movie opening today!) communications kingpin Richmond Valentine (Samuel L. Jackson). Over in the tough part of London, that young lad has grown into ‘Eggsy’ Unwin (Taron Egerton), who despises Mum’s lowlife, bullying beau while adoring his baby sis. After a pub altercation, Eggsy is pinched. Out of panic, Eggsy calls the number on the medallion he wears around his neck, and soon he’s released thanks to impeccably attired Galahad. Returning to the pub, Eddsy is amazed when the older gent easily dispatches a local gang bent on revenge. Later the young man decides to take Galahad up on the offer to join his late father’s profession. Down, down below a posh tailor shop, Eggsy is welcomed to the secret HQ of the Kingsman, a private undercover group led by elder agent ‘Arthur’ (Michael Caine). Eggsy is placed in the recruit training program headed by tech expert/trainer ‘Merlin’ (Mark Strong). While he’s put through his paces, Galahad works on a way to stop Valentine’s radical solution to end global warming, a plan that could eliminate most of the planet’s populace.
The film’s sense of high spirits is led by the irksomely handsome and utterly charming Mr. Firth as the epitome of the gentleman spy. Looking like an off-spring of John Steed of TV’s “The Avengers” with stylish horn rim glasses replacing the bowler, Galahad is like his namesake, a knight not of shining armor, but of expertly woven cloth, which hides all manner of disabling doo-dads. Firth injects just the right tone of smooth sarcasm into every line. I’m hoping for a prequel that will show us how he attains his deadly elegance. Plus he has a lovely mentor/apprentice rapport with screen newcomer Egerton who possess a tough, focused swagger tinged with a bit of sweetness, reminding one of Michael J. Fox in his 80’s movie glory. The kid’s…compact, but his courage and heart more than make up for his stature. Caine adds some old school gravitas (can it really be half a century since he was Harry Palmer, bespectacled super-agent?) to the role of the big boss, while the always entertaining Mr.Strong scores great laughs as the gadget (many retro-inspired) guru and tough teacher coming off as a bolder, balder take on Prof. Egon of the GHOSTBUSTERS. As for the baddies, Jackson puts an original spin on the secret megalomaniac with his odd, almost distracting, lisp (borrowed from a former boxing champ and current Cartoon Network star, no doubt) and an acute aversion to crimson (” I ‘thee blood, and I just hurl everywhere!”). He too is very funny, which makes his sudden deadly decisions more shocking. Much of his dirty work is accomplished by the exotic Boutella, who in her schoolgirl-like attire seems like a very distant cousin of “Go-Go” from KILL BILL. Kudos also to the energetic turn by Sophie Cookson as Eggsy’s training partner/best bud Roxy.
Director Matthew Vaughn, after a visit to the more gentile PG-13 Marvel universe in X-MEN: FIRST CLASS, returns to the more bloody, violent world of LAYER CAKE and the first KICK ASS. These knights leave a mark and a body count. But there’s a sense of style in the chaos, shifting expertly between ultra-slow motion to precise accelatered speed. A set piece set inside a Kentucky church, an obvious parody of an infamous group prone to funeral protests, is a masterpiece of choreographed mass mayhem. Later, a tech siege produces a hilarious visceral fireworks-like spectacle. But thanks to the witty script by Vaughn and Jane Goldman adapting the graphic novel by Mark Millar and Dave Gibbons (“The Watchmen”), the movie’s not just big bangs and broken bones. They take joy in flipping familiar spy flick tropes on their ears, often calling them out directly, and in one instance to quite shocking effect. It’s full of unexpected twists and turns with a startlingly raunchy denouncement (thanks for not giving away the best jokes in the trailer, guys!). There’s superb art direction to match the fashions, lush location cinematography, and a rousing score from Henry Jackson and Matthew Margeson abetting some classics and pop standards. This is an engaging, entertaining tale of super-spies geared more for the adults. Here’s hoping for another adventurous lark with those sharp-dressed, often deadly, KINGSMEN.
