Showing posts with label the score. Show all posts
Showing posts with label the score. Show all posts
Wednesday, November 30, 2011
Sneak Peek : The Twilight Saga: Breaking Dawn - Part 1 (The Score Music By Carter Burwell )
~Robstenfan
Monday, November 14, 2011
Track List For 'Breaking Dawn Part 1' Score Revealed
Film Music Reporter has received the track list for the score release for The Twilight Saga: Breaking Dawn – Part 1. The album features the original score by composer Carter Burwell. The soundtrack will be released on December 13, 2011 and is available for pre-order on Amazon. For a recent story about Burwell’s work on the film, visit The Boston Globe. Audio clips will be added to this article within the next few weeks. The Twilight Saga: Breaking Dawn – Part 1directed by Bill Condon and starring Kristen Stewart, Robert Pattinson, Taylor Lautner, Dakota Fanning, Michael Sheen, Anna Kendrick and Ashley Greene will be released in theaters on November 18.
For updates on the soundtrack, visit the official soundtrack page and check out the official movie website to learn more about the film.
Click HERE For Full Track List!!
Thanks to JRathboneFB
~Robstenfan
Thursday, February 3, 2011
“Water for Elephants” Score has been completed
#WFE Scoring completed for Water For Elephants! Can’t wait for you all to hear it…thanks spunk-ransom
~Robstenfan
Wednesday, November 10, 2010
Howard Shore and Eclipse Score Gets Hollywood Music and Media Nomination
According to their press release:Madison Ave. Media, Inc. today announced a second year of co-sponsorship of the Awards Ceremonies with The Hollywood Music in Media Awards (HMMA). The two organizations will honor the music composed or utilized within film, television, video games, commercial advertisements and movie trailers including the vast array of current mainstream and independent songs from music artists around the world.
2010 HMMA delivers an exciting show featuring a VIP cocktail reception, gourmet banquet, award presentations, celebrity appearances and live performances, including nominated artists MoZella, Gram Rabbit, Keaton Simons with more to be announced. The festivities will be held at The Highlands located in the Hollywood & Highland/Kodak Theatre Center in Hollywood, CA, November 18, 2010.
Hosts, presenters, performers and VIP guests include Oscar-nominated actor and music enthusiast Eric Roberts, artist/actor Suzan Brittan-Gault, radio/TV host Samantha Phillips, former Matchbox 20 member Adam Gaynor, along with celebrities, VIPs and nominated music performers Mozella, Gram Rabbit, Keaton Simons, Steve Palmer Band and more.
Film composer nominees include Trent Reznor and Atticus Ross (“The Social Network”); Hans Zimmer (“Inception”); Howard Shore (“the twilight saga:Eclipse”); Tomandandy (“resident evil:Afterlife”); Craig Armstrong (“wall street:Money Never Sleeps”); Marcelo Zarvos (“Brooklyn’s Finest”); Chingon (“Machete”) and Clint Mansell (“Black Swan”). Additional music categories include Original Score for TV, Video Game and Indie/Short/Documentary, as well as Best Song for TV, Film Video Game and Commercial Advertisement.
twilightlexicon
~Robstenfan
Thursday, June 17, 2010
You Can Pre-order The Eclipse Score
The Eclipse Score is available for pre-order on iTunes which includes bonus tracks, and a sneak peek of the soundtrack!
Go here to pre-order yours on
iTunes now!
It’s also available for pre-order on Amazon in MP3 or traditional CD format, and those pages also have song samples to listen to.
Above is the YouTube version of the sneak peek!
What do you think of the Eclipse score so far? I think its awesome!!
source
~Robstenfan
Go here to pre-order yours on
iTunes now!It’s also available for pre-order on Amazon in MP3 or traditional CD format, and those pages also have song samples to listen to.
Above is the YouTube version of the sneak peek!
What do you think of the Eclipse score so far? I think its awesome!!
source
~Robstenfan
Wednesday, June 9, 2010
Sneak Peek Of The Official Eclipse Score!
For those of you who want a sneak peek of the AWESOME Eclipse score, go to the Official Eclipse Site for a sneak peek from the score, as they have different parts of the score playing continually in the background!The Eclipse Score was composed by Howard Shore, and from what I’ve heard so far — it is amazing!
Go here to check it out now! (Make sure you click on “Enter The Official Eclipse Site”)
Any guesses as to which part of Eclipse the different pieces of music are from? One of them sounds like it would be from the fight with the Newborns!!
source
~Robstenfan
Thursday, June 3, 2010
Howard Shore discusses the passion-play within the ECLIPSE score
In the last decade, Howard Shore is among the very few Hollywood film music composers to become a 
household name. Although he has been in the business since the 1970s and racking up over 80 film and television credits, Shore’s name rose to international stardom in 2001 when he carved the musical landscape for Peter Jackson’s THE LORD OF THE RINGS trilogy. Shore won three Academy Awards, three Golden Globes, and four Grammys just for those three films.
Since then, he has enveloped himself in the world of high drama, scoring such emotional (and suspenseful) rollercoasters as THE DEPARTED, GANGS OF NEW YORK, EASTERN PROMISES, A HISTORY OF VIOLENCE, and EDGE OF DARKNESS, among many others.
Recently, he has added his name to another viciously famous franchise, THE TWILIGHT SAGA, providing the score to what will undoubtedly be a summer blockbuster, ECLIPSE. Shore has had his share of skeptics questioning his rationale for taking on such a project, but with one listen to the score, any doubt melts into the “twilight.”
The ECLIPSE score, at its core is a tumult of extreme emotions, where at any given time, it is simultaneously sincere, alluring, and terrifying. Shore makes extensive use of solo piano for character themes, displaying a naked vulnerability uncapturable by any other instrument. And his penchant for heaving violins and cellos are the earth Stephenie Meyer’s characters trod upon. ECLIPSE can pounce on you like a ravenous jaguar, cloud your judgment like a dense fog, or tantalize your senses with kaleidoscopic color-tones.
Howard Shore is a master of creating realms where nightmares and fantasy bleed together, and where beauty and the beast often inhabit the same body. While his time is strongly in demand, we did manage to obtain a bit of time to chat with the man who casts a twilight shadow on ECLIPSE!
How did you come into working on the ECLIPSE project?
They just asked me to work on it, and that was pretty much it. It really was as simple as that.
With NEW MOON, Alexandre Desplat admitted that he ignored Carter Burwell’s score for TWILIGHT and did not even see the first film. Did you follow that same mentality with ECLIPSE?
No, I actually did some pretty thorough research. I like to read a lot, and I knew the story. I was really interested in it from a dramatic point of view. And I felt that the story expands with the third film. I did the research and fell into a very interesting creative process. It was a pleasure to work on.
And I found both guys’ scores to be very good. Carter’s was such a good score, and Alexandre’s was just beautiful.
How was the experience tracking for songs through ECLIPSE?
I worked with Emily Haines and James Shaw of the group Metric, and Metric was a group that I had researched and felt that they would be good collaborators for this project. I asked them if they would be interested in writing with me, and the three of us created the song “Eclipse (All Yours).” I actually like the collaboration of working with different artists.
And that is something that you see less and less of in Hollywood. Back during the heyday of James Bond, you would almost always see a composer co-write the movie’s theme song.
Yes, yes! I enjoy that very much.
Listening to the ECLIPSE score, I noticed that you made Jacob the primary musical character, while using Bella as a sort of surrogate, bookending character.
He’s an important part of the story, and his character is an important element in the arc of the story. The timing was right in the third part to work with Jacob’s feelings and the dramatic arc of Jacob’s story. The Jacob character wasn’t really developed until the third film. It just felt right.
Since there were no previously established themes for Jacob, Victoria, Rosalie, Jasper, and Jane, did you feel any weight to present them in a proper fashion?
Definitely. I write how I feel where the emphasis is. And the emphasis for this part of the story might have been different from what had come before. So it just felt right for me to focus on and emphasize certain themes in the story.
Do you find yourself becoming emotionally invested in scoring these extremely dramatic films?
I do, I do become emotionally invested. I want to write and feel the drama. Music is essentially an emotional language, so you want to feel something from the relationships and build music based on those feelings.
And that’s why I think ECLIPSE is right up your alley as a perfect project.
Yeah, it is. Film music is essentially the essence of what it is, writing to the emotional impact of the story.
It seems very important to you to make your music available to the public, and that is something you do
not see many composers strive for. What is the rationale behind releasing things like the complete scores for THE LORD OF THE RINGS, and the HOWARD SHORE: COLLECTOR’S EDITION, and things like that?
It is important to me. I like to do good versions in the print medium and complete recordings, and full CD releases of scores; also archival releases of scores, rarities CDs. There is actually a rarities CD we are releasing with the Doug Adams book, MUSIC OF THE LORD OF THE RINGS. I do enjoy working on all aspects of that music. I like the details, yes.
Next year is the 20th Anniversary of THE SILENCE OF THE LAMBS. Are you planning on doing something special for that?
I am, actually. I think there is an A&E special being filmed, which I am participating in.
Is there something buried in your psyche that draws you to these realistic-fantasy worlds; places you would like to visit, but places where you would never like to live?
[Laughs] I don’t know…maybe.
sourve
`Robstenfan
household name. Although he has been in the business since the 1970s and racking up over 80 film and television credits, Shore’s name rose to international stardom in 2001 when he carved the musical landscape for Peter Jackson’s THE LORD OF THE RINGS trilogy. Shore won three Academy Awards, three Golden Globes, and four Grammys just for those three films.Since then, he has enveloped himself in the world of high drama, scoring such emotional (and suspenseful) rollercoasters as THE DEPARTED, GANGS OF NEW YORK, EASTERN PROMISES, A HISTORY OF VIOLENCE, and EDGE OF DARKNESS, among many others.
Recently, he has added his name to another viciously famous franchise, THE TWILIGHT SAGA, providing the score to what will undoubtedly be a summer blockbuster, ECLIPSE. Shore has had his share of skeptics questioning his rationale for taking on such a project, but with one listen to the score, any doubt melts into the “twilight.”
The ECLIPSE score, at its core is a tumult of extreme emotions, where at any given time, it is simultaneously sincere, alluring, and terrifying. Shore makes extensive use of solo piano for character themes, displaying a naked vulnerability uncapturable by any other instrument. And his penchant for heaving violins and cellos are the earth Stephenie Meyer’s characters trod upon. ECLIPSE can pounce on you like a ravenous jaguar, cloud your judgment like a dense fog, or tantalize your senses with kaleidoscopic color-tones.
Howard Shore is a master of creating realms where nightmares and fantasy bleed together, and where beauty and the beast often inhabit the same body. While his time is strongly in demand, we did manage to obtain a bit of time to chat with the man who casts a twilight shadow on ECLIPSE!
How did you come into working on the ECLIPSE project?
They just asked me to work on it, and that was pretty much it. It really was as simple as that.
With NEW MOON, Alexandre Desplat admitted that he ignored Carter Burwell’s score for TWILIGHT and did not even see the first film. Did you follow that same mentality with ECLIPSE?
No, I actually did some pretty thorough research. I like to read a lot, and I knew the story. I was really interested in it from a dramatic point of view. And I felt that the story expands with the third film. I did the research and fell into a very interesting creative process. It was a pleasure to work on.
And I found both guys’ scores to be very good. Carter’s was such a good score, and Alexandre’s was just beautiful.
How was the experience tracking for songs through ECLIPSE?
I worked with Emily Haines and James Shaw of the group Metric, and Metric was a group that I had researched and felt that they would be good collaborators for this project. I asked them if they would be interested in writing with me, and the three of us created the song “Eclipse (All Yours).” I actually like the collaboration of working with different artists.
And that is something that you see less and less of in Hollywood. Back during the heyday of James Bond, you would almost always see a composer co-write the movie’s theme song.
Yes, yes! I enjoy that very much.
Listening to the ECLIPSE score, I noticed that you made Jacob the primary musical character, while using Bella as a sort of surrogate, bookending character.
He’s an important part of the story, and his character is an important element in the arc of the story. The timing was right in the third part to work with Jacob’s feelings and the dramatic arc of Jacob’s story. The Jacob character wasn’t really developed until the third film. It just felt right.
Since there were no previously established themes for Jacob, Victoria, Rosalie, Jasper, and Jane, did you feel any weight to present them in a proper fashion?
Definitely. I write how I feel where the emphasis is. And the emphasis for this part of the story might have been different from what had come before. So it just felt right for me to focus on and emphasize certain themes in the story.
Do you find yourself becoming emotionally invested in scoring these extremely dramatic films?
I do, I do become emotionally invested. I want to write and feel the drama. Music is essentially an emotional language, so you want to feel something from the relationships and build music based on those feelings.
And that’s why I think ECLIPSE is right up your alley as a perfect project.
Yeah, it is. Film music is essentially the essence of what it is, writing to the emotional impact of the story.
It seems very important to you to make your music available to the public, and that is something you do
not see many composers strive for. What is the rationale behind releasing things like the complete scores for THE LORD OF THE RINGS, and the HOWARD SHORE: COLLECTOR’S EDITION, and things like that?It is important to me. I like to do good versions in the print medium and complete recordings, and full CD releases of scores; also archival releases of scores, rarities CDs. There is actually a rarities CD we are releasing with the Doug Adams book, MUSIC OF THE LORD OF THE RINGS. I do enjoy working on all aspects of that music. I like the details, yes.
Next year is the 20th Anniversary of THE SILENCE OF THE LAMBS. Are you planning on doing something special for that?
I am, actually. I think there is an A&E special being filmed, which I am participating in.
Is there something buried in your psyche that draws you to these realistic-fantasy worlds; places you would like to visit, but places where you would never like to live?
[Laughs] I don’t know…maybe.
sourve
`Robstenfan
Monday, October 12, 2009
New Moon The Score
The Twilight Saga: New Moon The Score now has cover art. The score is composed by Alexandre Desplat this time around. The CD drops November 24, 2009. Thanks to the TwiExaminer for the tip.
xoxo
Carrie
Carrie
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