Justin Bieber has never found a way to truly express him until his latest album, Purpose, released on 13 Nov 2015. When the outside world seems to constantly scrutinize this young, talented and successful musician who came onto the scene in his early teens, the attention centered towards his personal life never seems to end. However, Justin has found a way to truly speak up and escape from all the controversy with his spectacular new album.
Purpose delivers tracks with mesmerizing vocals and captivating instrumentals. The choice of who Justin worked with on this album seems to have payed off as he previously expressed that in is earlier years he didn’t have a 100% input on his projects. Working with the likes of Skrillex and Blood who produced hits such as Where are you Now, I’ll show you and Sorry was a wise choice. Skrillex is a music producer that brings an electronic radio commercial sound that matches Justin vocals perfectly.
Every song on this album is pure perfection with catchy and emotional storytelling cores at the heart. The Purpose movement is currently available on Youtube.
Infinite 8 review: 5 out 5 stars (Infinite Timeless)
From the poignantly realized rural Texas of Conan creator Robert E. Howard that comprised “The Whole Wide World” to the epic fantasy realms of “The Chronicles of Narnia” and the unforgiving western territory of “Seraphim Falls,” English composer Harry Gregson-Williams has taken listeners into unique, and powerfully encompassing musical landscapes with a sense of invention. But perhaps no vast subject of of his is sung with the feeling of one man’s resourceful personality like “The Martian,” a film that marks Williams’ most surprisingly intimate teaming with stylist supreme Ridley Scott after his work on “Kingdom of Heaven” and contributions to “Prometheus” and “Exodus” – movies more about the gargantuan effects of history, aliens and God himself upon their often overwhelmed protagonists.
Yet as opposed to the vast space opera that “The Martian” could have been in its tale of lone astronaut “sciencing the shit” out of seemingly hopeless odds when inadvertently left for dead on the red planet, Gregson-Williams has crafted a truly personal, and pleasingly melodic score about resilience. Sure “The Martian’s” themes might offer grand strings, noble brass and a chorus in Mark Watney’s moments of high desperation. But for the most part, Harry Gregson-Williams’ score for “The Martian” is about pluck and a sense of self-reflective wonder, as playful electronic beats complement Mark’s delivery to the camera about what it takes to survive in body and spirit, his seemingly impossible, solo quest uniting Earth itself in their hope to bring him home. Williams’ rhythmic suspense also makes Mark’s survival by no means assured, but it’s also an attitude that’s above all inspirational. His pro-active, rhythmically smart and mesmerizingly atmospheric score works in powerful tandem with Scott’s unassuming direction, a combination that will likely create many real-life scientists to come when the audiences listen to and experience “The Martian” – music and movie turning their eyes to the can-do spirit of space travel itself.
The thing that struck me most about your score for “The Martian” is that it’s not about a planet. It’s about a person.
Yes. In my initial talks with Ridley, he wanted “The Martian” to be a really personal, quite small story at heart, concerning one man’s quest for survival. And as the film grows more epic and more frantic, so would the score as I engaged the services of a large orchestra and a large choir. But at the beginning as we’re following Mark around, the score is “perky.” I wouldn’t call it “scientific” music, but music that’s not too broad or epic in any shape or form – but still quite positive to reflect his character. Mark’s a very optimistic guy in the face of all this stuff he’s going through. So it was necessary to make sure his theme had a very positive air to it. It needed to stay quite small to begin with to just be bubbling along as it accompanied his actions. And as Mark grows in both stature and bravery, so should the score to allow it to come on quite strongly for the end of the film.
In that way, after such gigantic “sci-fact” space operas like “Gravity” and “Interstellar,” it’s particularly nice to have a relatively small-scale score like “The Martian.”
I did engage large forces in the last couple of reels, which are quite tense and epic. But to begin with, it’s more about mystery and unraveling Mark’s situation, which is also what’s great about the writing of Drew Goddard, who did an amazing job. There’s something very cheeky about his script, almost Big Brother-esque. There was no veering off once the story’s goals were set. Mark’s left on Mars and he has to get off it, so it’s very clear what has to happen. It was a real pleasure writing the score for Ripley because I think he also felt that he had a strong script, and he got his first choice of actors in every part, all of whom worked very well down to the smallest parts.
Personally, I found “Gravity” and “interstellar” to be too intellectually lofty and stylized at the cost of telling a comprehensible story that respect, given what a great visual stylist Ridley Scott is, it’s surprisingly that a great deal of “The Martian’s” power comes from him telling the story in a completely straightforward and understandable fashion. How do you think that’s reflected in your music?
“The Martian” was such a joy to do because I’d never done anything quite like it, where the music didn’t need to be ostentatious to begin with. That’s because Mark’s a scientist who loves working out problems. So his thematic material is very melodic, which gives us a sense of positivity – sometimes on simple instrumentation like a piano, but accompanied by bubbling synthesizers, which I hope didn’t stick out too strongly. I considered ostinatos on strings and woodwinds for him at first, but they felt a little bit too much like Jerry Goldsmith’s approach in “Alien, “ which didn’t fit Mark’s character.
If there’s one score that “The Martian” reminded me of, then it would be Thomas Newman’s “Wall-E” especially given your own arrangements for that have a sense of wonder and hope for guy longing for human companionship.
I’m happy you think so, because I’m a big fan of Thomas Newman. I haven’t heard that score, but I can imagine what it sounds like. There isn’t a lot of dialogue in “The Martian,” but there’s quite a bit of monologue because Mark is always rattling off, until he finally gets in touch with mankind. A key area for me was how to play “us” looking on at him as it were. Everything Mark does becomes well-known and public knowledge. There’s a lot of warmth and good will that he feels through his limited communication, and one of the ways I was able to express that was literally through the human voices of a choir. I drew their text from “On the Nature of Things” by Lucretius who was a Roman philosopher who lived before Christ. It creates music that is “holy” without being specifically religious as such. His text is concerned with the infinity of space and our place in the universe, which seemed appropriate.
“The Martian” will likely inspire people to follow science careers, especially as it accomplishes the nearly impossible movie trick of making science look fun.
Yeah. Who would’ve thought that? Certainly not me! But that was a great stepping off point when it came to writing the first couple of minutes surrounding Mark’s quest to survive. He’s very positive and humorous about it as he’s making water. And that’s the pattern that emerges. He has various challenges, some of which he finds difficult to surmount. But eventually Mark wins, which was musically what I had to do. So it was decided early on that the music didn’t have to make too much of a statement in terms of where we were, but to be more concerned with Mark’s character. I wrote his theme in a way that would be easily recognized as being heroic and triumphant. It was also important at his low points not to push the music into sentimentality.
Did you try to do your own research into the movie to grasp all of the scientific concepts that are going on it?
No, but Ridley and I did talk quite a lot about the concept of “The Martian.” He described how he had come to realize how everything in the film could take place, and was concerned about the reality of that situation. Its plausibility was first worked out in Andy Weir’s book, and then by Ridley, whom I’d known was a stickler for detail through my work with him on “Kingdom of Heaven” and “Exodus.” However, the first couple of months of working on the score were quite disconcerting, because when I’d see a close up of Mark outside of his camp, he wasn’t necessarily wearing a visor! When I told Ridley, he laughed and said, “Well, you try bringing a camera in front of a visor! You’ll see the camera in it, so we’ll add the visor later.”
How did you want to play Mars itself?
As I was sitting around the cutting room with Ridley months and months ago, we were asking what Mars meant to us. Mars is the bringer of war. It’s Gustav Holst. But Mars really isn’t the villain in this movie, although there’s certainly a sense of danger that comes from being on the planet. We had to keep an edge to a lot of the music to remind the viewer that Mark was always an inch away from certain death if he stepped the wrong way. Yet it didn’t seem like Mars should be the monster of the movie, which allowed us to be more concerned with its majesty. So we had instruments like a huge gong that we played very softly with. A woody mallet gave you a vibration that was almost visceral in its feeling. We also had a Didgeridoo and a synthesizer to characterize the planet
Were you expecting all of the disco music to be on the soundtrack?
The disco music was always in the script. I don’t recall if it said, “Here plays an Abba song” or “Here plays a Donna Summer song.” But it made mention of 70s disco music. From that moment I started work on the movie, which was four or five weeks into production, there were songs already in the movie. And there were also scenes with songs that Ridley ultimately decided should use score instead. But whether it’s songs or score, I think Ridley has a special sensibility with music.
It must be a dream job to get a score where a guy is walking around red landscapes.
Absolutely. “The Martian” has been a dream job. I was excited about it from the moment I read the script to the last note that the orchestra played at Abbey Road Studios. When the writing’s this good, the acting so believable, and the editing so perfect, it’s a pleasure to compose a score for a movie like this. And I can’t say that every film I’ve ever worked on fits that description. “The Martian” was a great opportunity for music.
You also contributed the expansive score for the Disney Nature documentary for the documentary “Monkey Kingdom, where you music becomes the voice of these animals. It’s not usually the kind of score you get as well.
It definitely isn’t, so I was thrilled when Disney Nature asked me to score the film, especially as I have kids who’d be watching it as opposed to The Martian.” “Monkey Kingdom” was made by guys who were sitting around the forest for two or three years, trying to get these shots and create a story around them. I wrote a theme for the main monkey who’s named Maya. She has a lot of hardships because she’s born on the wrong side of the tracks as it were, and has to fight very hard to feed her family and to survive. Having the setting of Sri Lanka gave me a tremendous variety as a composer, especially when it came to playing ethnic music. It was also the only time that I can recollect where I got to write the temporary soundtrack as well, which allowed us to make judgment calls about where the music should go after our first audience previews. “The Monkey Kingdom” was a real highlight of my career.
You also got the score coming up for Catherine Hardwicke’s film “Miss You Already,” which has particularly strong female characters.
A lot of strong women worked on that film in front of and behind the camera. I came to be on “Miss You Already” by no accident. After I saw “Thirteen,” I wrote to Catherine telling her that I admired her work, and to ask on the off chance that she’d consider me for a movie in the future. And it just so happened that Catherine was in pre-production to do this film. We met, we liked each other and I got the job. “Miss You Already” is very English. But in fact Catherine’s not, even though it’s a love letter to London. We had a lot of fun doing it. She’s tough and very brilliant. I’ve been fortunate to have done three or four very different scores like this, “Monkey Kingdom” and “The Martian,” all of which have very little in common musically.
It seems like we can always count on you to do interesting, stylistic scores like them, or on movies like “Domino” and “The Taking of Pelham One Two Three.”
Well, I’m very fortunate to have been asked to do them. “Domino” and “Pelham” were done for Tony Scott, which allowed me to meet his brother, and to resultantly work with Ridley. I don’t take that lightly. And I always try to do my best.
From what you’ve learned about science through “The Martian,” how long do you think you’d survive if you were inadvertently abandoned on that planet?
Not long. My aptitude for science isn’t as good as my aptitude for music!
Photo by Benjamin Ealovega
“The Martian” is now playing in theaters worldwide, with Harry Gregson-Williams’ score available HERE. “Miss You Already” opens on November 6th, with its soundtrack available HERE, and visit Harry’s score for “The Monkey Kingdom HERE.
Tom Holkenborg, aka Junkie XL is the most sought-after film composer at the moment. He has delivered great scores for many movies including 2015 Mad Max: Fury Road
Fans have recently heard Holkenborg’s music during Mad Max: Fury Road, as well as co-compositions with Hans Zimmer on The Amazing Spider-Man 2, Man of Steel and The Dark Knight Rises. He will also provide the Batman-specific pieces of music for Batman v Superman: Dawn of Justice.
Based upon Marvel Comics’ most unconventional anti-hero, Deadpool tells the origin story of former Special Forces operative turned mercenary Wade Wilson, who after being subjected to a rogue experiment that leaves him with accelerated healing powers, adopts the alter ego Deadpool. Armed with his new abilities and a dark, twisted sense of humor, Deadpool hunts down the man who nearly destroyed his life.
Ryan Reynolds stars as the title character alongside T.J. Miller as Weasel, Gina Carano as Angel Dust, Brianna Hildebrand as Negasonic Teenage Warhead, Morena Baccarin as Copycat and Ed Skrein as Ajax. The film will also feature the mutant Colossus, though Daniel Cudmore has confirmed he will not appear as the character. Reynolds has also expressed a desire that Hugh Jackman might cameo as Wolverine, though it remains unconfirmed as to whether or not he will actually appear.
Tim Miller is directing the movie from a script by Zombieland writers Rhett Reese and Paul Wernick. Confirmed to be rated R, Deadpool is scheduled for a release on February 12, 2016.
Sam Smith stars in the video for Writing’s On The Wall
Sam Smith’s video for the new James Bond theme Writing’s On The Wall has today been released.
Smith penned the song for the latest Bond installment, Spectre, and stars in the Luke Monaghan directed video. The cinematic music is absolutely beautiful and echoes very well with the dark Bond portrayed by Daniel Craig. If this is a sign of things to come, lets hope Thomas Newman’s Spectre score will deliver a memorable theme for James bond.
Fans of director Guy Ritchie movies know that music plays a huge part in the experience of the story. In the 2015 summer blockbuster The Man from UNCLE, theatergoers will hear one of the best scores and a slick and sexy soundtrack to help move the spy thriller along. Daniel Pemberton is the man responsible for the soundscape to capture the action, humor and story of the film, and we were lucky enough to speak with the talented composer in a brand new, exclusive interview! Keep reading to learn about Pemberton’s score, his work on the upcoming Steve Jobs project and more!
How did you get involved in The Man from UNCLE?
I had some meetings in L.A., and I had a meeting at Warner Brothers, and they mentioned the film. I was like, “That sounds great!” They asked me to put a show reel together. So I did this show reel of some of my music, but it was one of those show reels where you go, “[sigh] it’s not that good … I can send you a better one…I can do better music than this.” It was a lot of weird music I’d done for TV rather than film stuff. Basically, Guy listened to it and liked it, and he said it was the only show reel he liked because everything else sounded exactly the same. He said he’d heard every Hollywood composer’s show reel and he couldn’t tell them apart. So I had a meeting with him and they offered me the film like, “do you want to do it?” and I was like” Yep! [laughs]” and it just went from there. That was the beginning of the crazy journey of doing The Man from UNCLE.
How involved was Guy Ritchie with the music?
If you do a Guy Ritchie film…every Guy Ritchie film, the music is such an important part of how he makes movies. He really knows the importance of music and how much power it can bring to a film. For composers, it’s very exciting and very daunting as well because you have nowhere to hide with what you write. Everything you do is going to be up front. It’s got to be rally bold, it’s got to be really strong and it’s got to kind of feel unique, otherwise Guy won’t like it.
You work with the editor, an amazing editor called James Herbert who is brilliant and also very good with music as well – so I’ll work with him and he’ll come up ideas, I’ll come up with ideas , we’ll throw them around and try and make something happen. Then Guy will see it and tell you whether he likes it or not, and you work like that. You kind of work alongside him, keep coming up with new ideas and try and get Guy excited! Eventually he gets excited and it goes in the movie, then you have another one to do, and so on. Eventually, after a lot of work, you get somewhere where you have this really cool movie that just has all these awesome music scenes.
Guy doesn’t like anything that’s like a kind of “filler” piece of music. Every single piece has got to be like a standout track and he wants you to “reinvent the wheel” every time, so it’s hard work but the end result I think is really good.
Your score is full of wild percussion and other elements. What were your influences for this score?
The influence for that [percussion] is the phrase “put some mad bongos on it,” which was used every time we got stuck with a scene. We were like “Oh, just put some mad bongos on it.” It became this like joke, catchphrase in the edit.
Percussion is a big part of the score and that was like the logical conclusion. That big scene at the end, we just got hold of every piece of percussion we could in London. That piece is crazy. It goes in and out of time, a kind of decent into chaos, and then comes back together. We’ve even got a Hungarian milk churn on it. Everything from like huge bongos, little bongos-tiny bongos make an awesome noise that’s what I learned. The smaller the bongo, the cooler the noise. Guy, a big guy, was playing these tiny joke bongos, for kids, and they sound amazing.
With that, basically, Guy is always trying to surprise the viewers, keep them excited and that’s what we tried to do with that queue. We tried to score that scene very differently a number of different ways, but they all felt quite conventional. When you watch a film, you want to be surprised, like “what the hell is this?” because it makes you pay attention. IF you’re watching something and you’re like “oh, I know what’s happening here, it’s a chase…here’s some chase music,” it’s like well why go and see a movie? Because if you know what you’re going to get, it’s not very exciting. If you go to a film and it’s a surprise, then it’s always going to be exciting.
What was the process like, working with and/or around the songs in the film from the 1960s?
It was great! There’s really great tracks in this film. I love it when you have great tracks to sit alongside and sort of compliment what you’re doing and you try to compliment what they’re doing. We even worked with some of them. There’s a scene where Napoleon Solo drives a truck off of [a dock]… so for that instance, that was a great track by an old Italian guy called [Peppino Gagliardi], a brilliant track (“Che Vuole Questa Musica Stasera”), but it wasn’t doing enough for the scene. They wanted it to kind of have this climax, which the song didn’t have, halfway through it. So I ended up writing a whole string part for the song that we recorded and put on top of the song to give that scene a bit more of a push. So, you would get involved in the score like that, which no one would know. You watch the film, you’ll never notice this string part, but if you see it again you’ll spot it.
Like I said, music is such a big part of Guy’s films, so you get involved in every aspect.
How did get involved in the Steve Jobs movie?
[Director] Danny Boyle really liked my score for The Counselor, which is a film I did with Ridley Scott. He really liked it and was familiar with quite a lot of my work on British television. I had a meeting with him and pretty much at the end they were like, “okay, we want you to do it!” and I was like “oh, oaky, cool! Really? Great! [laughs].”
It’s so weird, because I’ve ended up working with these huge directors, Ridley Scott, Guy Ritchie and Danny Boyle, all of whom, music plays a really big part in their films. It’s quite weird-it’s great! It’s very exciting but it’s also very scary because each of those directors have such good musical legacies and you’ve got to really step up when you do one of their movies. You can’t just phone it in, you’ve got to do the best score you can.
Considering the project lost two stars and even a director before moving into production, was there any hesitation on your end before signing on?
Oh, no. When you read the script you were like “this is going to be brilliant.” The script is phenomenal. No. No hesitation for one second. Danny Boyle is one of the greatest directors, not only in Britain but in the world and the script is from one of the greatest script writers in the world [Aaron Sorkin]. I think all the other stuff is all based around- I mean, it depends how far into the hacked emails you’ve read – I think everyone involved in this project wanted to do this project.
The thing about this film is that it’s not a mainstream film in a number of ways. It’s more like a piece of theater. The concept behind how the story’s told is very original, very different and it’s going to be challenging in that aspect for mainstream audiences. That was the problem, I think, studios had and I think what Danny’s doing to it is incredibly novel and incredibly exciting and I look forward to you seeing it.
Are there any other projects you’re working on in the future?
No, not at the moment – everything else I’ll keep secret [laughs].
When I work on a film, I get really, really involved in it. It takes over my life so I can’t do that many at the same time. Man from UNCLE was about a year. Steve Jobs I’ve been on since January, probably working on it every day. I get really involved with the edit and work very closely alongside filmmakers. So it’s very tiring but I hope it means you get a more unique score.