Sophie howard james newton howard1/7/2024 The ideal situation is when sound effects and music sort of, I don’t mean to get poetic about it, but really do a dance together. Because sound effects are central to every movie. HOWARD: For every film composer, that’s always a calculation and a negotiation, if you will. How did you do that while battling with the raging sound of the dust storm? There was so much emotion that got evoked throughout that scene, in the score specifically. It’s very minimal, but then it grows at the end as it transitions into Johanna meeting the Kiowa tribe. Universal PicturesĭEADLINE: My favorite part of the score was during the dust storm. It’s a great moment and I wrote it fairly large thematic piece for that whole scene. He gets on his horse, he goes streaking across the New Mexico desert. And then he comes to the correct understanding of what he has to do. And there was another scene where he decides to go back to Johanna at that wonderful moment of clarity after he’s visited his late wife’s grave. Basically, the theme you hear was a theme to accompany them while they were on the road to Dallas. And I thought, aha, here’s my opportunity to write my first big scene. And then there was a moment if you recall, where Kidd and the Johanna traveled to Dallas, which was the beginnings of a big bustling city that is complete with tons of activity and commerce and lots of people. Not that there was much romance in this movie, but I was always looking for an opportunity to write a big Western theme as I was working on the movie, but there really wasn’t a spot do that in the first act. NEWTON HOWARD: Well, because my favorite genre or type of movie to do is a big, epic outdoor romance adventure. We put a group of those people in the middle of the room and then surrounded them with a traditional large orchestra, and I think what we ended up with was this fragile core with a very self-assured surrounding.ĭEADLINE: While the broken consort becomes grander as the movie goes on, it seems like the consort gets a little bit more cohesive throughout, culminating in the ending credits theme, which is very grand. I know that sounds a little bit technical, but it really gives you this wonderful droning, kind of journeying sound. You can feel them slowly drawing the bow across the strings, rather than digging in with a bow into the string. These look somewhat like traditional string instruments, but there’s a technique to play them that is quite different. The way I approached it was I took the group of musicians who specialized in playing what we call ancient instruments that would include the cello d’amores, viola da gambas, and gut-string fiddles. And I think in this case, we executed it pretty effectively. NEWTON HOWARD: The broken consort was indeed a concept that Paul came up with. Distribution With Women Make MoviesĭEADLINE: Paul Greengrass wrote about the two of you and the editor, Billy Goldenberg, agreeing that the score should be as if “a consort of players broken by years of civil war and division and hatred had finally reformed.” How did you go about achieving that? Palestinian Oscar Entry 'Bye Bye Tiberias' Secures U.S.
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