Lakeshore Records is pleased to release All Nighter, available now digitally (get it here)! The album features score by Alec Puro, award winning Film and Television composer, accomplished studio musician and entrepreneur, known for the hit ABC Family/Freeform drama “The Fosters”, MTV’s vigilante dark comedy series “Sweet/Vicious” as well as several films including The Art Of Getting Bystarring Emma Roberts and Freddie Highmore and Higher Ground starring Academy Award® Nominee Vera Farming.
All Nighter is Alec Puro’s second collaboration with director Gavin Wiesen (they previously teamed up for the Sundance hit, The Art of Getting By). See full album details below. For more insight on Alec’s scoring work on the film, check out this great interview at Screen Anarchy.
[The score] amplifies the fast pace of the film – Screen Anarchy
Thanks to the chemistry between Hirsch and Simmons, this “one crazy night” comedy works. – Common Sense Media
Good Deed Entertainment presents ALL NIGHTER, in select theaters now (get tickets) and VOD and Digital HD on March 24, 2017.
Lakeshore Records will release the soundtrack to All Nighter, available digitally on March 24. The album features score by Alec Puro, award winning Film and Television composer, accomplished studio musician and entrepreneur, known for the hit ABC Family/Freeform drama “The Fosters”, MTV’s vigilante dark comedy series “Sweet/Vicious” as well as several films including The Art Of Getting By starring Emma Roberts and Freddie Highmore and Higher Ground starring Academy Award Nominee Vera Farmiga. See track list below.
Good Deed Entertainment presents ALL NIGHTER, in select theaters on March 17 (get tickets) and VOD and Digital HD on March 24, 2017.
Into The Wild (Original Motion Picture Score) Is Out Now! Download Here: [iTunes]
This soundtrack is one of the most enjoyable musical experiences I have ever had… Close your eyes and you can almost see Chris as he travels across America.” –G-Pop
While in the midst of Awards Season, we dedicate this Throwback Thursday to Into The Wild (2007), featuring the Golden Globe®-nominated score by Michael Brook! The score follows a young man from a well-to-do family, Christopher McCandless (Emile Hirsch), who, in April 1992, hitchhiked to Alaska and walked alone into the wilderness north of Mt. McKinley. He had given $25,000 in savings to charity, abandoned his car and most of his possessions, burned all the cash in his wallet, and invented a new life for himself (Amazon).
Into The Wild film, writer/director Sean Penn’s screen adaptation of the best-selling novel by the same name, received two Academy Award® nominations for Best Performance by An Actor In A Supporting Role (Hal Holbrook) and Best Achievement In Film Editing (Jay Cassidy). INTO THE WILD movie is available now On Demand (get it on iTunes).
Don’t forget to listen to Michael’s latest score on the Academy Award®- and Golden Globe®-nominated film, Brooklyn, starring Saoirse Ronan!
In 2007,BROOKLYN composer Michael Brook received a Golden Globe® nomination for his score to Into The Wild (released by Lakeshore Records). The film went on to earn two Academy Award® nominations plus numerous others. Lakeshore Records sat down with Michael Brook then to discuss his work for Into The Wild, and you can hear it below. If you haven’t seen the film yet, you can watch it On Demand on iTunes.
This year Michael Brook composed the score to the critically acclaimed Sundance Film BROOKLYN which will also screen at The Toronto Film Festival on September 13th. The album will be released on Lakeshore Records later this fall. Stay tuned for more details on this extraordinary film and score.
The Motel Life is a searing and profound examination of brotherhood set in the timeless Sierra Nevadan frontier. Two brothers, Frank (Emile Hirsch) and Jerry Lee (Stephen Dorff) escape their bleak day-to-day existence by telling each other fantastical stories. Lakeshore Records, who released the The Motel Life soundtrack, spoke with animator Mike Smith about his artwork for the film. Mike Smith was tasked with portraying the imagination of the two wayward brothers. Like David Holmes and Keefus Ciancia’s score for the film, Mike’s images are impressionistic, minimal, and stripped to the heart.
You have been animating for over 30 years, including music videos for David Byrne, Grace Jones, and Bob Marley; and you have animated feature films and animated sequences in Tank Girl and Oliver Stone’s Natural Born Killers. What attracted you to animation?
The endless variety of styles, techniques and interpretations. That is why it is so liberating to work on projects like The Motel Life and get a chance to express something different through the medium. From early on, I realized one could never really exhaust the possibilities to express ideas through animation. I still feel this way today.
Your animation for the film is loose and sketchy, yet it perfectly captures the spirit of the brothers and their stories. It looks like you used very simple tools.
I kept in mind that the animation was a sort-of joining of Frank’s stories and Jerry Lee’s imagination, so I wanted to keep a sketchbook feel to the animation to help us feel Jerry Lee’s presence while Frank told him the stories.
There is a quality one obtains from using the actual rough animation drawings in the final look that brings to mind an unfinished sketch. I felt that one could relate this style of animation to the rough-hewn style of American roots music.
This minimal approach can also be heard in David Holmes’ and Keefus Ciancia’s music. Were you inspired by the music? Did you try to match the sound of it with your drawing style?
While storyboarding of the animation, I listened to American roots music. When the animatics were edited, some of this found its way into the cut as temporary place-holders to help express the flavor of each sequence.
Did you have a goal or idea in mind as to what the animation should look like before starting the project, or did you let it take shape as the film developed?
Originally, I did designs that were much more painterly or more expressive in terms of how one draws with charcoal as opposed to traditional animation pencil line. I decided to keep a rather monotone flavor to everything and have the animation affected by subtle textures and simple shading.
Much of the atmosphere actually comes from the surreal stories themselves and Emile Hirsch’s reading of them. It allowed me to wander visually and break the traditional ways of storytelling.
Do you have a favorite sequence in the film?
I liked the sequence where we imagine a childhood adventure with Frank and Jerry Lee. They encounter pirates, meet Willie Nelson and come-of-age thanks to a bevy of cowgirls.
