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.
James Horner, who has died aged 61 in a plane crash in California, was one of the most successful and admired composers of film soundtracks in Hollywood. He wrote music for more than 100 films, and his extensive list of awards included two Academy Awards and two Golden Globes, as well as 10 Oscar nominations, seven nominations for Golden Globes and three for Bafta awards.
Horner’s music was an integral part of some of the most successful films of recent decades. His score for James Cameron’s Titanic (1997) won an Oscar for best original dramatic score, and he also won best original song for My Heart Will Go On, the love theme from Titanic, which was co-written with Will Jennings and sung by Celine Dion. It became a huge hit in its own right, selling 15m copies. The recording of Horner’s Titanic score also sold 27m copies. He had previously collaborated with Cameron on Aliens (1986), which had earned him his first Oscar nomination, and on the score for Cameron’s 2009 sci-fi fantasy Avatar, which was also nominated.
There were several films with Mel Gibson, of which Braveheart (bringing another Oscar nomination) was the most prominent. His Braveheart score, like his work on Titanic, showcased Horner’s fondness for folk and ethnic musical influences. But he would also cite composers such as Britten, Prokofiev and Tallis as influences on his work.
He formed a successful partnership with the director Ron Howard, and his work on Apollo 13 (1995) and A Beautiful Mind (2001) again put him on the Oscars shortlist. With Edward Zwick, a director Horner described as “very difficult and very opinionated”, he worked on Glory (1989) and Legends of the Fall (1994), earning Golden Globe nominations for each.
Horner was born in Los Angeles to Joan (nee Frankel) and Harry. His father, who had been born in Czechoslovakia, moved to the US in 1935, and was an art director and set designer who won Oscars for his work on The Heiress (1949) and The Hustler (1961). James began playing the piano when he was five, and was sent to study at the Royal College of Music in London. He returned to Los Angeles, took a bachelor’s degree in music at the University of Southern California, and went on to postgraduate work at University of California, Los Angeles.
He began his film career in the late 1970s by working on shorts for the American Film Institute, and wrote his first full-length score for 1979’s The Lady in Red (directed by Lewis Teague, but re-released by Roger Corman in 1980 as Guns, Sin and Bathtub Gin). After cutting his teeth on films such as Oliver Stone’s horror flick The Hand (1981), he made the leap to large-scale popular work with Star Trek II: The Wrath of Khan (1982), Walter Hill’s buddy-cops yarn, 48 Hrs (1982), and Michael Apted’s well-received 1983 film version of Martin Cruz Smith’s novel Gorky Park.
That same year he wrote the score for The Dresser, Peter Yates’s adaptation of Ronald Harwood’s West End and Broadway play. He knew Harwood’s daughter, Alex, now a film composer herself, from his time studying in London. “I remember my father coming back from a visit to James when he was studying at UCLA, and saying he had heard his music and it was all bumps and squeaks,” she explained. “Dad asked ‘where are the melodies, James?’ and that was a joke for years in our family. Then he became a film composer and he was writing these incredible melodies.”
She recalled him as “a lovely person and incredibly gifted, though obviously deep down incredibly driven,” adding that he was “one of the last of that old school of composers, like John Williams, with proper classical training and unbelievable musical knowledge”.
In 1985 came Horner’s first collaboration with Howard, on Cocoon, the whimsical tale of a group of senior citizens in Florida being rejuvenated by aliens. Cameron’s Aliens followed, as well as An American Tail (1986, another Oscar-nominated project for Horner) and Jean-Jacques Annaud’s medieval detective story, The Name of the Rose (1986). Annaud became another regular partner and the pair later worked together on Enemy at the Gates (2001) and 2011’s Day of the Falcon.
Alongside his involvement in heavyweight drama productions, Horner worked on music for a string of children’s and animated films, including The Rocketeer (1991), We’re Back! A Dinosaur’s Story (1993), Casper (1995), and How the Grinch Stole Christmas (2000). He perhaps enjoyed these as a respite from the demands that often came with major products for big-name directors; he was also regularly bedevilled by producers, whom he criticised for being too interventionist, particularly on The Amazing Spider-Man in 2012.
At the time of his death Horner had three films slated for release in 2015: the boxing drama Southpaw, Annaud’s Wolf Totem, and The 33. But he was not solely concerned with film work. In 2014 he premiered his double concerto for violin and cello in Liverpool, and in March this year he unveiled his concerto for four horns at the South Bank in London.
He is survived by his wife, Sarah, and their two daughters.
• James Roy Horner, composer, born 14 August 1953; died 22 June 2015
• This article was amended on 24 June 2015. Through an editing error, the quotation beginning “a lovely person…” was attributed to Ronald rather than Alex Harwood. On 14 July, a further amendment was made to details of surviving family members.
Ant-Man is a 2015 American superhero action film directed by Peyton Reed and starring Paul Rudd, Evangeline Lilly and Corey Stoll. Forced out of his own company by former protégé Darren Cross, Dr. Hank Pym (Michael Douglas) recruits the talents of Scott Lang (Paul Rudd), a master thief just released from prison. Lang becomes Ant-Man, trained by Pym and armed with a suit that allows him to shrink in size, possess superhuman strength and control an army of ants. The miniature hero must use his new skills to prevent Cross, also known as Yellowjacket, from perfecting the same technology and using it as a weapon for evil. The score is composed by Christophe Beck.
It’s Marvel time! (again), and I couldn’t be more excited. Sure, I don’t know anything about Ant-Man except he’s a guy in a suit who got shrunk and is one of the tiniest superheroes out there. The movie looks great based on the trailers I’ve seen, mostly because Paul Rudd is awesome. This Ant-Man character is even part of The Avengers so don’t be surprised if he appears in the next Avengers movie. Beck has spent some time on this. Rumour has it that he had to give Terminator: Genisys to someone else because he was so busy on Ant-Man. No idea if this is true, but that can only be a good thing. The ‘Theme From Ant-Man’ was shared by Beck a few days ago and it is a curious one. It’s very different from what you’ve used to in recent years from Marvel. It feels partly like 60s spy film music. Then again, this Ant-Man character (Scott Lang) is a thief, so it might just fit the character perfectly. In any case, I like it a lot. It’s different and fun. ‘Honey, I Shrunk Myself’ is next and what a fun title. It must be a spoof on the classic Rick Moranis film ‘Honey, I Shrunk The Kids’. Now the music is more “standard”, but standard doesn’t mean it’s bad. This is quite fun, particularly the action sequences in the second half of the cue.
I like that it’s not just a modern action style, but it’s mixed with a more classic orchestral action style. It also has that classic spy feel in certain cues like ‘Ant 247’ and I have to admit I love that style. I love the energy of this score, this really feels top quality all the way. Ant-Man is an anti-hero in a way, and I guess that’s why there’s not so much heroics in the music, but ‘San Francisco, 1987’ has a bit of a heroic feel to it and there’s a stint of heroism on ‘First Mission’ which makes sense. The score has a definitive tongue-in-cheek feel to it and I love that. It needs a bit of humour, and it seems that the music delivers. The score feels so developed, like a lot of time has been spent scrutinising every detail to just make it right. The horns, the percussion, the strings, it all feels just right. Love how a well-developed score like this can make me feel. At first when I listened to the Ant-Man theme I didn’t think it would be something I would remember, but as soon as I heard it in another cue, I remembered it instantly and was hooked. It’s actually quite catchy and hummable. The final track is a lot of fun, it sounds like a classic surfer track. I won’t spoil any more than that but it’s a hoot!
Nothing to say really except that this is the best superhero score of 2015. Beck killed it. Killed it!
Jurassic World is a 2015 American fantasy film directed by Colin Trevorrow and starring Chris Pratt, Bryce Dallas Howard and Vincent D’Onofrio. It is the fourth instalment in the Jurassic Park film series. The last one was Jurassic Park III in 2001. Twenty-two years after the events of Jurassic Park, Isla Nublar now features a fully functioning dinosaur theme park, Jurassic World, as originally envisioned by John Hammond. After 10 years of operation and visitor rates declining, in order to fulfil a corporate mandate, a new attraction is created to re-spark visitor’s interest, which backfires horribly. The score is composed by Michael Giacchino.
So it’s finally here, the fourth film in the Jurassic Park series. I remembered there were rumours about it many moons ago, but nothing happened. The first movie will always be special for me. I remember the first time I saw the dinosaurs how awesome it was and coupled with John Williams fantastic score, it hasn’t been beaten since. The sequel was good and the third one was interesting, but musically they have always had such great quality. I quite liked Don Davis ferocious score for the third film. With John Williams sole focus on the new Star Wars film, no wonder he had to give up this but there had to be a point where he was asked, because he is John Williams. It must have been heartbreaking for him to have to turn it down. It was always in the cards that Michael Giacchino were doing this. He was rumoured to be involved in Star Wars before John Williams was announced and there’s plenty of star power in Giacchino in recent years. It will be interesting to see if he can create something special and unique because there will be nods to Williams’ score, I guess there had to be. It’s interesting that in the booklet there are three cues marked with “Contains Jurassic Park Theme by John Williams”. Giacchino is not new to the Jurassic Park franchise though as he creates a very fun video game score to The Lost World, although it was very different from Williams main score for the series. The score starts with ‘Bury The Hatchling’ and as it should, it starts with a big bass boom and some horns coming with an ominous theme. The mood that is created is one of fear. The choir is coming in, and this is one scary choir. Quite an interesting opener. From scary moods to a playful mood with ‘The Family That Strays Together’, a light but a bit sad moment as the music with strings and horns create a nice canvas. And now… ‘Welcome To Jurassic World’ which, yes you guessed it, has John Williams marvellous themes and I’m truly sorry to Giacchino and everyone else involved, but all else is put to shame at this moment. It’s simply beyond comparison.
‘As The Jurassic World Turns’ contains some new and great ideas from Giacchino starting at 38 seconds in. There’s a heroic theme being played with notable percussion. It is really beautiful in fact. This must be the new main theme Giacchino created for the movie and it lasts quite a long time as well. Not until 1:50 does the music change into a more calmer state, but it returns again in playful state. Giacchino sure can write great themes, without question. There’s a difference though between great and iconic and I’m not sure it was a smart move to put Williams’ theme in here at 4:59, because it really crushes all competition. Still, it’s great to have Giacchino’s theme and Williams theme in there together. Makes for a fantastic cue. ‘Clearly His First Rodeo’ is the first action track and it is lively and fun. Reminds me in fact of some of the action music Williams wrote for the Star Wars in parts, particularly the horn blasts in the beginning. After the great opening, the music goes into a more dark and ambient mode, a mood setting mode. At 2:14 the cue totally changes into a playful and innocent “children” theme which is fun, but I would sure have liked them separate. Still, it’s great and it sounds so positive. With that kind of action music and the playfulness Giacchino shows in that cue, this score might be headed for greatness.
Some more tense music in ‘Indominus Wrecks’, and I really enjoy the mood Giacchino creates here. It’s dark, but I love how it’s put together. The music is literally alive and there’s always something interesting in the mix. This is definitely a by-the-numbers score by Giacchino. This is a fun and exciting vacation into Jurassic World for sure. One of my favourite cues are ‘Gyrosphere Of Influence’ which contains the main theme and the playfulness that Giacchino has so carefully sprinkled upon this score and the tense exciting music with small but important musical moments such as the shaking woodwinds tumble in there. Lovely! ‘Pavane For A Dead Apatosaurus’ has one of the best renditions of the main theme and a really fun secondary theme just around the 3:20 mark. It sounds like a military theme. Really nice. I’m quite sure Giacchino is having fun bringing back his Medal Of Honor days now, first with that military theme in ‘Pavane For A Dead Apatosaurus’ and more World War II hi-jinx in ‘Fits and Jumpstarts’. Fun stuff! More fun ahead in the zany ‘The Dimorphodon Shuffle’. It’s so fun in fact, I had to listen to it twice. Up there with the best I have heard so far. Hah! Puns! Giacchino has always had fun with the cue names (even though he probably had help like with Tomorrowland). ‘Love In The Time Of Pterosauria’ is awesome, pun-wise, but also musically. It’s an action cue that almost lasts from start to finish, and it’s amazing to hear. Giacchino can be great at these, and in this score he thankfully is. There’s even a lovely “love” theme or hint at it near the end.
What I like most about the score is that it’s in the spirit of adventure. It is varied within it’s context. It can be playful, it can be action filled, it can be romantic, dramatic, tends and it always changes. On top of that (or buried underneath) are these small moments in the score that makes it constantly interesting. It’s so fun to listen to that I just don’t want to stop. I don’t think you can say that this is a Dinosaur score though, because what it? Even John Williams score to Jurassic Park wasn’t a “Dinosaur” score. I think I mentioned in that review how the music is so great it could practically be for anything and still sound great. Much of it applies here. I can see a score like this work for Indiana Jones or even a sci-fi. It’s exciting and fun! The action alone in cues like ‘Raptor Your Heart Out’ and ‘Costa Rican Standoff’ might sound chaotic, but it’s in perfect order. Every note is used to push the message of danger, but also fun, adrenaline pushing fun. And how about the choir in ‘Our Rex Is Bigger Than Yours’? Sublime! I am in awe of this action music. Some of the best action music in years surely (when compared to purely orchestral scores). There’s emotions ahead, particularly in the awe-inspiring cue ‘Nine To Survival Job’ which is an epic theme, sweeping music. Just gorgeous. One more Williams reference in ‘The Park Is Closed’ and why not? Williams deserve a big piece of the pie and he is given one. The small reference is just that because this is mostly Giacchino’s new theme saying goodbye and in this context it almost makes me cry. Beautiful. It all ends with a massive 13 minute suite called ‘Jurassic World Suite’ and a few bonus tracks (digital exclusives?). Anyway, back to the suite. I love lengthy tracks, particularly suites and particularly when the score is as good as it has been. Strangely though the suite doesn’t seem to pick much from the best until around 7:30 when the military theme arrives. It’s actually a bit disappointing for a suite, but it’s still very good. The best part of the suite is the ending from 11:20. I am addicted to Giacchino’s action in this score.
Finally there are 4 “bonus” cues starting with ‘It’s A Small Jurassic World’ a fun and perky march. Kind of quirky, but never blatant comedic. Love it. ‘The Hammond Lab Overture’ is another version of the previous cue it seems. Very march-like and “old” sounding. Very beautiful. ‘The Brockway Monorail’ is another superb “old” sounding “march”. So perky and fun. What’s not to love? Reminds me of something he could have scored for a fun Pixar movie. Finally there’s ‘Sunrise O’er Jurassic World’ that is a stunning little cue that reminds me of classics like Star Trek TMP and even Superman and also JNH’s Dinosaur. This is a brilliant ending to a brilliant score.
Giacchino has written some great scores over the years, but maybe this is his best one? He’s still a young composer, but look what he has accomplished already. I think the only thing he really needs now is an iconic theme coming from somewhere, but is it possible in this day and age? If he managed that, he might just become close to the greats. In fact, if he’s managing to create an iconic theme that will be remembered forever in the current film scoring climate, I’m doubly impressed. How long was it since John Williams created his last iconic theme? Harry Potter? That’s a long time ago. Maybe the era of iconic themes has ended. Or just maybe, Giacchino is the man to do it. It’s not happening with Jurassic World, but that’s ok. This score is bundles of fun. Really terrific. Just drop the comparisons with Williams’ masterpiece Jurassic Park, there is no point. This is Jurassic World, a brand new movie in the franchise, it’s a different time, it’s 2015. On it’s own it’s just great, one of the best scores of the year.
We all have soundtracks that we admire from time to time. Some of them just sound good and captivating without use of many instruments. I am particularly in love with Memoirs of Geisha composed by the legend himself, John Williams. The main melody of the sound is from the Cello. Here’s John in the studio scoring the music for the film
So we all know that Hans Zimmer has worked with some proteges such as Ramin djawadi and Henry Jackman. Both have become successful composers with Ramin best known for Iron Man, Game of thrones and Pacific Rim scores. Henry Jackman, on the other hand, has been extremely succesful with many scores such as the Dark Knight and Captain America the winter soldier. I would definitely put it in my top ten soundtracks of the year. Please check out Henry demonstrating his abilities in the studio
It is official….Pharell Williams and Hans Zimmer are best buddies. These two seem to get along just fine. We already know that they are both collaborating in scoring The Amazing Spiderman 2. That relationship may seem odd but the two greats have already worked together on the Man of Steel score. We already anticipate a stunning soundtrack for the next spiderman movie.
“Hans Zimmer is like the king of all kings. I carry his books, sharpen his pencils, get his coffee, and I listen to every punctuation that comes out of his mouth. He is a genius.” -Pharell Williams
Its very rare that two genious musicians collaborate to compose a masterpiece. This has to be a turning point in music production as the german born film composer Hans Zimmer joins hiphop and film composer Pharell Williams in Spiderman 2. Personally, these two are definitely in my top ten producers of all time and it looks like Spiderman 2 will not only stand out visually but also musically. Pharell has recently transformed himself as not only a hiphop and pop superstar but also a successful transition in film scoring. He recently scored Despicable Me 1 and 2.
Hans Zimmer is well known for working on over a 100 movies in hollywood. An absolute Idol and Icon to many…its difficult to even start talking about him. All I can say is i’m looking foward to this collaboration.
Film fans may have only just got over last week’s announcement that Ben Affleck has been cast as Batman in a follow-up to Superman film Man Of Steel, but the latest news is that he may also appear in other movies as the superhero.
According to industry website The Hollywood Reporter, Affleck’s involvement is the result of months of discussions between the Oscar-winner, the Man of Steel director Zack Snyder and the film’s producer, Christopher Nolan, who also directed the most recent Batman films starring Christian Bale.
During these talks, which reportedly even “many Warners [Bros] executives [were] unaware of” Affleck signed “for multiple movies, should sequels continue to proliferate.”
Ben Affleck was previously asked to direct Man Of Steel and Justice League, leading to speculation that there will be a film featuring more of the comic book heroes: Batman, Superman, Wonder Woman and others in a joint attempt to save the world. Affleck, who directed the Oscar-winning Argo in 2012, could either star in the film, direct or it both.
While Affleck’s appointment has been met with some angst – nearly 80,000 people have signed a petition to undo the casting – his colleagues have been supportive. Joss Whedon, who directed rival superhero movie The Avengers tweeted that “Affleck’ll crush it. He’s got the chops, he’s got the chin – just needs the material. Affleck and [Henry] Cavill toe to toe – I’m in.”