It’s yet another winner for this unflashy teaming of cinematic street smarts and deeply felt film music, one that goes to the “Bottom of the 9th” with hard life lyricism and redemptive rhythmic grit. – Film Music Magazine
Coming Friday, July 26 is Stephen Endelman’s score to Bottom of the 9th, the new film starring Joe Manganiello (Justice League, “True Blood”), Golden Globe Nominee Sofia Vergara (“Modern Family“, Hot Pursuit), Denis O’Hare (Dallas Buyers Club, “True Blood”) and Academy Award® Nominee Burt Young (Rocky, Chinatown). See the full album track list below. Bottom of the 9th reunites Endelman with Rob The Mob Director Raymond De Felitta. Ahead of the album release, check out this glowing review and interview over at Film Music Magazine!
Saban Film presents BOTTOM OF THE 9TH, now playing in select theaters (get tickets).
If you think you know what Rob The Mob is about, think again. The movie opened in theaters last weekend in New York City, and the soundtrack is now available. On the eve of the film’s Los Angeles premiere, Lakeshore Records spoke with Grammy-winning Composer Stephen Endelman about this modern-day Bonnie and Clyde story and his introspective approach to scoring the film.
How did you go about conveying the spirit of the couple, Tommy and Rosie, in the music?
There’s something about their chemistry. It’s a simple love story. Basically you can’t help but notice the way they look at each other: they are very much in love. They are so quirky and weird. Their theme was the opposite of who they are. The metering is not the same in each track on the album; each bar is a different length. I wrote a waltz that wasn’t a waltz, for example.
Some of the tracks on the album sound very gentle, like you were guiding the audience into seeing deeper into who Tommy and Rosie are as people. Was that intentional?
I feel the movie is respectful of the characters. Each character in the movie does what they do, honestly. The characters can’t help themselves. I didn’t want to just show them as a couple of wild kids robbing people. I want to show them as a couple of lovers. None of the music is sentimental, even though the movie is about an end of an era.
Did you already have a goal or idea in mind at the beginning of the project, or did you allow the album to shape itself?
The album shaped itself. I didn’t have an idea about the score at the beginning. I read the screenplay and then it became apparent. We had decided on a piano score already. When we finished the music, we did move things around a bit based on what seemed right with the movie, but I let the music speak through me through the characters. I felt sad and a sense of yearning. I felt their imperfections.
How do you go about choosing soundtracks to score? Do you have a rule about what kinds of movies you will or won’t score?
No rules. I try to mix it up. I fall in love with characters. If I fall in love with them, then I write music for them. I feel that the human condition is looking for love, depth and resolution. When I look back at all the movies I’ve ever done, each character wants to do better in some way. I’m really drawn to the characters.
The movie Rob The Mob, directed by Raymond De Felitta, opens widely on Friday, March 28 in Los Angeles. The reviews have been very favorable.
“Music. It plays a key role in ROB THE MOB as well. The film takes place circa 1992(ish) but the music is much more timeless, evoking an era far more indicative of the mafia’s hay days. Stephen Endelman composes the original music while accompanied by tracks from The Staple Singers’ “City In the Sky” and Wilson Pickett’s “Somethin’ You Got.” The opening sequence of the film, however, oddly sets the mood in an unexpected use of Deee-Lite’s “Groove Is In the Heart.” Trust me when I say it sounds odd at first, but quickly makes sense…”