Further Examinations: New Interviews & Features
January 3, 2018
Frankenstein 1910: Donald Sosin’s Music for Restored Classics From the Silent Film Era (Interview)
…”A lot of these horror films also have this pathos in them, when you think about Lon Chaney at the organ in THE PHANTOM OF THE OPERA and how sad he is that Christine doesn’t want to have anything to do with him, and Orlac who has this lovely wife who doesn’t know what to do with him and his paranoid fantasies of being persecuted by this guy who turns out to be a con artist. CALIGARI is another matter, of course, but there also is this love element, somewhat warped though it is. So all of these films have a mixture of true horror and maybe some romance or some more subdued emotional content that flows in and out. It sometimes depends on the period of the film; NOSFERATU takes place in the early 1800s in Germany and in Transylvania, so in that film I’m using music that might have been part of the soundscape in both of those countries and that time period…”
Read the full story here.
December 16, 2018
Behind the Music – Interview with George Shaw: Scoring THE 716th [Amazon Prime sci-fi short] and ESCAPE THE NIGHT [quirky fantasy Youtube series]
“[In THE 716th] there were certainly a lot of heroic horn and trumpet fanfares, along with some classic major scales with flattened 6th notes that you often hear in science fiction films. For the more fantastical moments, I used lots of swirling string and wind writing, and the Durakian theme is based around low brass and a low synth pad.”
“[With ESCAPE THE NIGHT], each season has a different setting and time period; the first season is set in a 1920s mansion dinner party, the second in a Victorian era masquerade party, and the third in a 1970s carnival. What links them all together is the overall dark, supernatural fantasy of murder and mystery, but I get to play with the sound of each season based on the various settings. I especially had fun in the 3rd season where I got to experiment with suspense combined with disco elements and dark, twisted carnival waltzes.”
Read the full-length interview here.
November 29, 2018
Scoring Valve’s ARTIFACT: An Interview with composer/sound designer Tim Larkin
“The music style came from several places for this game. First off, it’s based in the world of Dota heroes. So again that became a departure point of sorts. Some of the initial palette was based off of the previous Dota score. However there’s lore in the Artifact story based on a type of vagabond, gypsy caravan feel that felt important to capitalize on. That’s where the idea of a Balkan choir came in. Exploring Eastern European music turned out to be quite interesting as well as fitting for this setting.”
Read the full interview here.
November 24, 2018
An Interview with John Paesano: Scoring THE MAZE RUNNER Saga
Read our in-depth interview here (also covers Paesano’s scores for SALVATION, THE PHOENIX INCIDENT, and DreamWorks’ DRAGONS: RIDERS OF BERK!).
Read our exclusive interview with the Sharknado composers here
New Interview: Michael A. Levine Scores SIREN
Herman Stein: The Greatest Composer No One’s Ever Heard Of (except us monster kids!)
New Interview: Andrew Hollander Scoring MY FRIEND DAHMER
Randall Larson’s New Soundtrax column features Don Davis Interview re: scoring TOKYO GHOUL
Composer Kevin Smithers visits MONSTER ISLAND
Ryan Shore: Soaring Into the STAR WARS Universe: Scoring STAR WARS: FORCES OF DESTINY
The Mummy’s Music: Brian Tyler Enters The Dark Universe – An Interview
The Music of Slumber Mountain Along the Moonbeam Trail: Terry Huud: Scoring the Stop-Motion Art of Illusion
Something About Monsters… Henry Jackman on Scoring KONG: SKULL ISLAND