I was impressed to learn that Alexander Ebert, frontman of Edward Sharpe & the Magnetic Zeros, is responsible for the gorgeous score for All is Lost. J.C. Chandor directs Robert Redford in the lost-at-sea drama, due out on DVD on February 11th.
One of my favorite things about the new Sandra Bullock space movie Gravity was its music. I was surprised to see an unfamiliar name credited. The man responsible is Steven Price, who has worked on “additional music” for several film composers and was responsible for scoring The Worlds End. You can hear a preview for his work on Gravity below.
If you are among the millions who have seen the Man of Steel trailer, you may have been impressed by the music used in it. The first song featured is “Elegy” by Lisa Gerrard (of Dead Can Dance) and Patrick Cassidy. Both have collaborated with Man of Steel composer Hans Zimmer in the past – Cassidy’s beautiful composition “Vide Cor Meum” appears in the movie Hannibal, and Gerrard worked on the Gladiator soundtrack.
The second selection on the Man of Steel trailer is “Storm” from Elizabeth: The Golden Age by Craig Armstrong and A.R. Rahman. Armstrong worked with Massive Attack and has scored most of Baz Luhrmann’s movies, including The Great Gatsby (information that’s hard to find behind all the Jay-Z publicity, though a WB press release describes Jay-Z’s “contributions” to Armstrong’s score). You can read an impressive, though not-up-to-date, list of Craig Armstrong’s music in movie trailers here.
And in case you missed it, we here at Murch broke the news that Allison Crowe will appear in the Man of Steel movie.
Thomas Newman is perhaps best known for his collaborations with Sam Mendes – I noticed his American Beauty score featured heavily in the recent documentary Inventing David Geffen. My favorite of their collaborations is Road to Perdition, a gorgeous and delicate piano-driven suite. Newman’s composition for Mendes’ latest film, Skyfall, is a different beast – a heavily synthesized score which features few delicate moments.
The tragic character of “Severine” provides a brief respite in a score which otherwise pummells you into submission. It is a glorious, 78-second string arrangement, conjuring memories of my favorite Bond music – John Barry’s instrumental “We Have All The Time In The World.”
Skyfall is otherwise a surprisingly forgettable score, though I did enjoy the “Shanghai Drive” theme, its reprisal in the album’s concluding track, “Adrenaline,” and the percussive energy of “Silhouette.” Monty Norman’s original theme is incorporated particularly well in “Breadcrumbs.”
I have not seen the new film, Water for Elephants, which is based on Sara Gruen’s novel. However, I have greatly enjoyed listening to the movie’s soundtrack. The original score by composer James Newton Howard is a lovely collection of instrumentals both serene and dramatic. The rest of the album features Depression-era jazz and blues, the centerpiece of which is Bessie Smith’s guttural rendering of “I Need A Little Sugar In My Bowl.”