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Marcus

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Marcus last won the day on July 10 2016

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About Marcus

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  • Birthday 10/14/1979

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    Oslo/Berlin

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  1. The film is now out, and the score is available from all platforms, as well as in physical format. It's been an incredible journey, and I am so happy and grateful to have been part of it. The soundtrack album was a particular joy to assemble, as it gave me the opportunity to shape a generous selection (almost 80 minutes) of music written and recorded throughout the scoring process into a unified whole. All in all, I penned about 4 hours and 15 minutes of music for this score throughout the editing process, and the soundtrack reflects my own musical preferenc
  2. Greetings, and thanks for your thoughtful comments. We were definitely conscious about avoiding a more pristine "Hollywood" sound aesthetic, as André wanted this film to be far removed from mainstream fantasy drama fare. So I guess the aesthetic we went for is in some ways a more 'contemporary concert' approach. Having said that, we were tasked with the challenge of having to mediate two separate orchestras and recording venues due to scheduling, and subsequently try to find a balance between the two, which meant minimizing the differences, and I suppose th
  3. Thank you. What's interesting to me about that, is that save for the brassy send off of one of the main themes towards the end of the credits suite, I'm probably as unconscious of any channelling as I am of my own voice, whatever that may be... I guess any voice is an expression of one's experience, preferences and personality. But from a writing perspective, especially in a film score, you just respond to the challenges at hand. Which means that it's all just music, regardless of its connotations. Having said that, Williams has been a deeply formative
  4. Another few items: Here's one of the score's several main themes: And a lengthy finale and end credits suite, featuring concert settings of most of the score's thematic material:
  5. Seems it's also up on YouTube. Here's a little teaser of sorts:
  6. Greetings, all of you! I wanted to share with you my first major feature score, written for André Øvredal's MORTAL. The film will be out in theaters worldwide this year, and the soundtrack is already up on Spotify (and elsewhere eventually; CD will be available as of next week). It's been a great privilege working on this, as André Øvredal is such an incredibly gifted director (Scary Stories to Tell in the Dark, Troll Hunter, The Autopsy of Jane Doe), and also deeply passionate about film music. The score is performed by the Stavanger Symphony Or
  7. This is a miraculous album. Imagine being able to craft such imaginative, vital and energetic new takes on this music at 87! There's incredible flair and elegance on display here, but also deep thought -and a simply stunning (and daring) command of how to pit a violinist against an orchestra. What a marvelous, generous gift.
  8. The situation is roughly this: All the new music is Williams. All the old music repurposed from HP1 is Williams, but adapted (to fit the film) by William Ross.
  9. Only manuscript. 8 staves for smaller cues, up to 20 for the busiest ones:
  10. I'm currently scoring a fairly big feature film, requiring 110-120 minutes of orchestral music, some of it highly complex. I do all of my work in very detailed short-score with no additional orchestrators, sending each page off to only two people: An engraver providing orchestral parts, and an assistant providing mock-ups (and digital elements integral to the score, all of which I first notate and describe to the best of my ability). It's a small team, but a very effective one. For my concert work, it's all manuscript, but most of it gets engraved courtesy
  11. Categorically no. He simply isn't. (Doesn't mean you're not entitled to prefer his music over Williams', which is merely a matter of taste)
  12. I think The Adventures of Han is a delightfully fresh and fun piece that achieves quite a lot of different things at once, and in subtle ways. Connective tissue and seemingly throwaway moments actually hearken back (or is that forward?) to a lot of the action writing in the OT, but just in quick glimpses/foreshadowings. It's a sort of in medio res piece, and might seem less tightly constructed than it actually is, which is a rather apt way of having form serve as a kind of characterization. The piece is structurally who Han is as a character: Someone who su
  13. As soon as I'm asked! Haven't done much film scoring as of late, but scoring two now, one of which will have a major international release... It would take no small measure of luck, and the right connections, but I'd do it in a heartbeat.
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