Numan and Fenton expertly capture the film’s mood shifts with tracks like the rhythmically driven The Train, the dynamically expansive The Refinery, and the scratchy minimalism of The Empty House. –Mike Mettler. Read the full interview at Digital Trends.
In an interview with veteran music journalist Mike Mettler, Gary Numan digs into how scoring From Inside: Gary Numan Special Edition(aLakeshore Records release) compares to normal song writing, how recording music has evolved with the available technology and what he thinks about being an electronic music pioneer. From Inside: Gary Numan Special Edition is available now on DVD. Don’t forget to enter the free DVD giveaway.
Download The Album
From Inside (Original Motion Picture Soundtrack): iTunes | CD
Lakeshore Records is pleased to announce the release of the Original Motion Picture Soundtrack Album to NIGHTCRAWLER, score composed by eight-time Academy Award nominee James Newton Howard! He is well known for his timeless, inventive and iconic scores to such films as The Fugitive, The Prince Of Tides, The Village and Michael Clayton to name a few. James is currently completing work on The Hunger Games: Mocking Jay in London. We could not be more excited to be releasing this album! Directed by Dan Gilroy (writer, The Bourne Legacy) and starring Jake Gyllenhaal, NIGHTCRAWLER has been playing to rave reviews and early Oscar buzz.
#NightcrawlerMovie crawls into theaters October 31st. NIGHTCRAWLER is a pulse-pounding thriller set in the nocturnal underbelly of contemporary Los Angeles. Jake Gyllenhaal stars as Lou Bloom, a driven young man desperate for work who discovers the high-speed world of L.A. crime journalism. Finding a group of freelance camera crews who film crashes, fires, murder and other mayhem, Lou muscles into the cut-throat, dangerous realm of nightcrawling — where each police siren wail equals a possible windfall and victims are converted into dollars and cents. Aided by Rene Russo as Nina, a veteran of the blood-sport that is local TV news, Lou thrives. In the breakneck, ceaseless search for footage, he becomes the star of his own story.
Lakeshore Records recently spoke with Australian Composer Johnny Klimek, score composer for films such as Wolf Creek 2 (watch it on Netflix), I, Frankenstein (with Reinhold Heil) and The Cave. Recognized for his score work on films like Cloud Atlas, Paris, je t’aime and Run Lola Run, Mr. Klimek’s love of music and the creative process is very apparent by how he speaks of his work. With the recent release of the Wolf Creek 2 soundtrack by Lakeshore Records, the busy composer gave us the scoop on what it’s like to work with Wolf Creek Director Greg McLean. As a life-long musician and heavily into the Berlin electronic music scene for many years, Mr. Klimek offers his perspective on film scoring.
Photo: Virginia Park
How did you end up working on the Wolf Creek films?
I met Greg via another film he was planning to do; some months later, he contacted me concerning Wolf Creek 2. I flew back to Australia for a spotting session and watched the film. Greg said he wanted something atonal, except for a few sequences, so I did a lot of sound design and added lots of Orchestral FX.
Growing up as a musician, did you ever consider that you would someday be producing music for films?
It was not the plan. I remember being interested in it and going to see films and thinking I could never do something like that. Then, Tom Tykwer (Cloud Atlas, Run Lola Run) walked into my life.
If you were to travel back in time, say, to your childhood, what movie would you love to score?
There are so many. In the horror genre, The Shining (1980) and The Elephant Man (1980).
How do you view the difference between writing and creating music for a band, and for a film?
It’s completely different; film scores are another world. When you score you’re supporting a story line. It’s a creative, emotional, dynamic musical journey.
I just did the score for a film called Kill Me Three Times: it had a guitar-oriented ’60s vibe. You have to adapt to different styles. I grew up with pop music, then got into the Berlin underground electronic scene. It was nothing commercial at all. It was a great training ground for film score.
Do you have a music writing ritual?
The best scenario for me is to read the script and discuss ideas with the director. I like to spend a week or so on sound design and manipulating stuff then I get into the thematic side. Experimenting inspires me to try different things and often wonderful accidents occur.
What is your favorite instrument?
I’m a bass player, but I don’t think it’s my favorite. I tend to love the ukulele and cello — adore the sound! Working with a string section is my favorite.
What’s next?
I’m working on a film directed by Greg Mclean called 6 Miranda Drive, which stars Kevin Bacon. Then, on to a film called A Hologram For The King directed by Tom Tykwer, and stars Tom Hanks. After that, a project called Sense8 (TV series) with the Wachowski siblings (The Matrix).
Lakeshore Records recently spoke with Tony Morales, the Emmy-nominated film composer who scored In Your Eyes, the new Joss Whedon movie directed by Brin Hill. Currently working on the new Lifetime TV Movie, Outlaw Prophet: Warren Jeffs, he took a moment to talk working on In Your Eyes and how he views music making. A New Hamphire native, he moved to L.A. right after graduating from the prestigious Berklee College of Music in order to attend USC’s Advanced Studies in Film Scoring program. Morales found his calling while at Berklee when he was inspired by film scoring greats like Bernard Herrmann (Vertigo) and Jerry Goldsmith (The Omen).
What was it like working on In Your Eyes?
I had worked with Brin Hill before on his feature debut, Ball Don’t Lie (2008). We have developed a great trust in our working relationship since then. For In Your Eyes, we decided on using orchestral and electronic instruments to best support the story. My approach then was to combine live strings, hand percussion and solo voice with electronic beds and processing. The scene I wrote was “It’s Snowing.” From there, ideas started to happen and the process was up and running.
Download The Album!
In Your Eyes Score Album: iTunes In Your Eyes (Various Artists): iTunes
Do you identify yourself as a composer or musician?
I am a composer first but still a musician. When I finished my education, some of my first work came as a guitar player on film and tv sessions. The guitar is an instrument I use quite often in my composing work.
Who would you love to collaborate with?
I admire many film composers working today: Alexandre Desplat (The Tree of Life) and John Powell (Jumper, Fair Game) to name a few. I’ve had the pleasure of working with John Debney (Walk of Shame, Draft Day), Brian Tyler (Transformer: Prime) and Harry Gregson-Williams (The Chronicles of Narnia) over the years. I’d be interested in collaborating with a song writer on a film score; I feel their sensibilities could inspire a different perspective for me when it comes to writing for film. [Editor’s note: Together with John Debney, Morales co-composed the hit History Channel mini-series, Hatfields & McCoys.]
What’s your favorite instrument?
It changes all the time but right now, it’s the Bajo Sexto – it’s a 12-string acoustic bass guitar, mostly heard in Mariachi music. It’s like a heavy metal bass guitar. Really rumbly.
What do you think about orchestral music and processed electronic music criss-crossing platforms?
I’m all for it: music is music. Music in film is there to support the story. I’ve been involved with both. I got my start writing music for commercials — there’s a lot of pop music requests in that realm of work. A couple of years ago Eddie Vedder wrote a bunch of songs for Into The Wild that I really enjoyed just as much as I love a Thomas Newman (Skyfall, Wall-E) score.
You have been nominated for just about every music award, what does that feel like?
I love what I do and am thankful to even have the opportunity to do it!
In your years composing, what were some surprises or lessons you’ve learned that helped make you who you are now?
There’s definitely more to this career than the creative side. Relationships are very important. It’s important to be able to collaborate and listen, to be able to accept ideas; to be someone that people can be comfortable with. People want to work with people they like; people they trust. Things can get stressful and intense so those relationships really help.
In Edge of Tomorrow, Tom Cruise (Tropic Thunder, Oblivion) plays “Cage,” a soldier who finds himself trapped in a time loop during an alien invasion. Trivia: Cruise also faced aliens in War of the Worlds (2005). In case you haven’t seen Edge of Tomorrow, check out the trailer:
Composer Christophe Beck’s film scores range from classical, organic music (Charlie Bartlett) to experimental and processed electronic sounds (Runner Runner). Watch the Runner Runner album preview below for more and click through the video for track listing information.
Download these albums featuring the music of Christophe Beck:
