3 items from 2015
My first horror movie? Disney's "Return to Oz." I was in elementary school when I first watched Walter Murch's dark, visionary 1985 film, which was marketed to children despite being one of the most legitimately terrifying "family movies" of all time. It rattled me, deeply. I couldn't stop watching it. Released on June 21, 1985 to mixed reviews and poor box office, "Return to Oz" was the first and last directorial effort from esteemed Oscar-winning sound and film editor Walter Murch, who cut such acclaimed movies as "Julia," "Apocalypse Now," "The Unbearable Lightness of Being" and "The Talented Mr. Ripley." It was not, as they say, your grandmother's "Oz" movie. The Wicked Witch of the West may have been frightening for very young kids, but she was nothing compared to the devilish, head-swapping Princess Mombi, the sadistic, baritone-voiced Nome King, and, god help us, the cackling Wheelers, a group of fluorescent roller-derby »
- Chris Eggertsen
There was a brief stir in January when composer Harry Gregson-Williams publicly expressed, via Facebook, his surprise at hearing music he didn’t recognize at the premiere of Michael Mann’s thriller “Blackhat” — and at not hearing a lot of score he did write.
The composer says his Facebook post has been blown out of proportion, but admits it was disappointing to see music he toiled over dropped (or replaced) in the final cut. But, he stresses, that’s just part of the game.
“You win some, you lose some,” he says, relaying his early mentor Hans Zimmer’s comment that you haven’t made it as a film composer until you’ve had a score rejected.
Gregson-Williams is simply the latest in a long line of composers who’ve watched scores tossed out and replaced whole-cloth, partially substituted by pre-existing tracks, or mangled beyond recognition. Mann is notorious for »
- Tim Greiving
Eric Lavallee: Name me three of your favorite “2014 discoveries”…
McIntosh: The score fits somewhere between pastoral and experimental. Research, I studied a lot of contemporary organ scores, like the Ligeti one above (not that the score really went that far out).
Lavallee: This is your second outing with Craig, your previous collaboration was the cringe worthy essay on victimization. In terms of instrument selection, what did you sprinkle onto Z?
McIntosh: For Compliance, it was cello driven. For Z for Zachariah, Cello is still there, but there is a larger chamber ensemble sound, pump organ, piano, choral ensemble, French horn, and a as always a sprinkling of electronic ambience. »
- Eric Lavallee
3 items from 2015
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