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LOST IN SPACE (2018) - Christopher Lennertz (includes cameo of Williams' theme)

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And just like that there's a press release for the OST

 



LAKESHORE RECORDS PRESENTS THE SOUNDTRACK FOR
LOST IN SPACE, A NETFLIX ORIGINAL SERIES PRODUCED BY LEGENDARY TV

Featuring Original Music by Christopher Lennertz

(April 6, 2018 – Los Angeles, CA) – Lakeshore Records will release LOST IN SPACE - Netflix Original Series Soundtrack digitally April 13, 2018 with a CD release forthcoming. The album features original music by composer Christopher Lennertz (RIDE ALONG, MEDAL OF HONOR, MARVEL’S AGENT CARTER).

Produced by Legendary Television, LOST IN SPACE is a Netflix Original dramatic and modern reimagining of the classic 1960’s science fiction series. Set 30 years in the future, colonization in space is now a reality, and the Robinson family is among those tested and selected to make a new life for themselves in a better world. But when the new colonists find themselves abruptly torn off course en route to their new home they must forge new alliances and work together to survive in a dangerous alien environment, lightyears from their original destination.

“When we were approaching the score for Lost In Space we knew there was a certain feeling we wanted to create for the viewers,” said Executive Producer Zack Estrin. “Following in the footsteps of the magnificent John Williams, who composed the original iconic series theme, Christopher Lennertz brought to us a vision that fit perfectly. It is full of triumphant brass and soaring strings, where orchestral melody and percussion dance seamlessly from edge of your seat thrills to simple moments of raw emotion.”

Lennertz was excited to be the sound of this relaunch of a classic American franchise. “Zack and all the producers wanted the musical language of the title sequence to set up the score for the rest of the story, and hopefully we did just that,” Lennertz explained. “It’s a big story with family and adventure at the very heart. I tried to be grand and heroic, with a nod to exploration, and a hint of nostalgia. I hope it resonates with fans of the show, both old and new!”

LOST IN SPACE stars Toby Stephens (Black Sails, Die Another Day) as John Robinson, and Molly Parker (House of Cards, Deadwood) as Maureen Robinson. As the Robinson kids, Taylor Russell (Falling Skies) is the strong-willed and confident Judy, Mina Sundwall (Maggie’s Plan, Freeheld) is the quick-witted and definitive middle-child Penny, and Max Jenkins (Sense8, Betrayal) is the curious and sensitive Will Robinson. Stranded along with the Robinsons are two outsiders who find themselves thrown together by circumstance and a mutual knack for deception, the unsettlingly charismatic Dr. Smith played by Parker Posey (Café Society, Mascots, A Mighty Wind) and the inadvertently charming Don West, played by Ignacio Serricchio (Bones, The Wedding Ringer).

Lennertz’s favorite sequence in the pilot is featured in the track “Will and Robot”. The scene is “where Will and the robot not only meet, but form a true bond in the midst of a harrowing adventure. Zack wanted it to play both the wonder of the situation and the danger of the robot,” Lennertz described. “It was such a treat to write a long cue like the classic sci-fi that I grew up with, where an entire relationship shifts over the course of the piece and Will’s emotion soars on top of the action and danger underneath. I really put myself in the mind of my 12 year-old self and tried to write it from the point of view.”

“Much like the Robinsons themselves, there's an underlying sense of hope to the music,” said Estrin. “It’s a sonic rollercoaster full of fun and heart -- and more than a few moments that make you want to raise your arms and cheer.”

One can’t address LOST IN SPACE without addressing John Williams’ original main title theme. “From the beginning, the producers wanted a classic main title sequence to play during at least some of the episodes,” said Lennertz. “I wanted to tease the show’s premise with a hint of the Alpha Centauri program theme, then a full statement of the new LOST IN SPACE theme, followed by a triumphant finish that showcased now legendary composer John Williams’ original theme from season 3 that people are so familiar with. It was such an honor to be able to incorporate such a classic melody from the man who made me fall in love with film music from the very beginning.”

LOST IN SPACE premieres April 13, 2018 on Netflix. Lakeshore Records will release LOST IN SPACE - Netflix Original Series Soundtrack digitally April 13, 2018 with a CD release forthcoming.

# # #

http://www.lakeshorerecords.com

For more information contact KrakowerGroup[at]gmail.com, or @KrakowerGroup on Twitter

ABOUT CHRISTOPHER LENNERTZ
While Star Wars, Van Halen, and Bye Bye Birdie may be responsible for his love of movies, music, and theater, it was a chance meeting with Henry Mancini in college that changed his life forever. In awe of Mancini’s ability to compose for any genre, Lennertz has modeled his career to be just as diverse. He has written music for some of the world’s greatest storytellers. Whether its soaring heroics for Seth Rogen as a hot dog saving the world in Sausage Party or the lush orchestral melodies of Steven Spielberg’s Medal of Honor series...a stark, out of tune gospel piano for Mark Ruffalo’s battle with addiction in Thanks for Sharing or futuristic dystopian Americana for J.J. Abrams’ Revolution, this classic eclectic ability has now become his signature. He has worked in almost every genre imaginable and spent weeks on Billboard charts. He has an Emmy nomination for the cult hit Supernatural, a Grammy for his arrangements on Ozomatli’s album Street Signs, and an amazing eleven BMI awards for blockbusters like Bad Moms, Horrible Bosses, Ride Along, and more.

“At the heart of everything is a collaboration.” says Lennertz “Collaboration to tell stories that move people.” To embrace this spirit of musical storytelling, Chris has teamed up with legendary artists like Grammy winners Arturo Sandoval and Dave Grusin, The RZA, and Sheila E. as well as members of Pearl Jam, No Doubt, The Beastie Boys, Dave Matthews Band, Jurassic 5, and Jane’s Addiction. Collaborations with directors Tim Story, Seth Gordon, John Favreau, and Ben Stiller as well as producers Chris Meledandri, JJ Abrams, Seth Rogen, Doug Liman, Ed Norton, McG, Joel Silver, and so many others have led to a stream of box office successes.

Equally comfortable on the small screen, on stage, and at festivals, Chris has written eclectic scores for Marvel’s Agent Carter and Sundance award-winner Adam for Fox Searchlight. He has written with Broadway legends David Zippel, Glenn Slater, and Oscar and Tony winner Alan Menken on Sausage Party as well as the musical adventure Galavant. Chris is also one of the most in demand composers in video games with hits like Medal of Honor, James Bond, The Godfather, and the Mass Effect series. His passion for education and philanthropy plays a major part in his life serving on the board of Education Through Music Los Angeles and The Mr. Holland's Opus Foundation as well as Hands Together in Haiti. He personally launched the Symphony of Hope project after the 2011 earthquake to rally the film music community around the cause.

Ultimately mixing his love of storytelling, his eclectic background, and his relentless passion for all styles of music, Chris has become one of the most valued and sought after composers in Hollywood today.

ABOUT LEGENDARY TELEVISION
Legendary Television produces and distributes innovative top quality content for all platforms worldwide. The studio's roster includes the upcoming reboot of the classic family adventure series LOST IN SPACE for Netflix; THE LOOMING TOWER based on Lawrence Wright’s Pulitzer Prize-winning book on the events leading up to 9/11, directed by Alex Gibney and adapted by Daniel Futterman for Hulu; and CARNIVAL ROW, a fantasy noir drama starring Orlando Bloom and Cara Delevingne, from Rene Echevarria & Travis Beacham for Amazon. The third season of Legendary Television’s critically acclaimed science-fiction drama COLONY, co-created by Carlton Cuse, airs this spring on USA Network. Three seasons of LOVE, a relationship comedy from Judd Apatow, are now available exclusively on Netflix.

ABOUT NETFLIX
Netflix is the world's leading internet entertainment service with over 117 million members in over 190 countries enjoying more than 140 million hours of TV shows and movies per day, including original series, documentaries and feature films. Members can watch as much as they want, anytime, anywhere, on nearly any internet-connected screen. Members can play, pause and resume watching, all without commercials or commitments.

 

I didn't realize it was already available digitally

 

Lost in Space (Original Series Soundtrack)

 

 

https://www.amazon.com/dp/B07CB4Z9GP

 

https://play.google.com/store/music/album?id=Bx4smnoiwmv6xtoujsuk474udbe

 

https://itunes.apple.com/us/album/1367599996

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I did not say front page.  I said first page.  Meaning the first page of this thread.  My link even links directly to the post, which is on the first page of this thread.  In the forums.

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1 hour ago, Not Mr. Big said:

lol who reads the front page?

 

Over 2,000 people every day. 


It's perfectly OK that you don't read it but I'd appreciate if you showed some respect for them as well as for the site's editor by avoiding such dismissive generalizations ;)

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Ok, so two episodes in and it’s a good show. Plot wise I guess it’s not great, and the dialogue is a bit hammy, but it’s good. It’s ok.

 

What really is stellar though is the score. Symphonic and cinematic! Sweeping and engaging. At least in the context of the show. It really puts other shows to shame, and I’d like to argue a lot of movies as well. Symphonic scores are alive and well! Thank you Christopher Lennertz!

 

Now, I’m too unfamiliar with JW’s original Lost In Space music to be able to pick out any reference. It’s my understanding that JW wrote two themes for LIS back in the day, and that Lennertz’s new main title features both of them prominently. During the show, the first on is used less in favor of the second.

 

Anyone with better knowledge of JW’s original score care to comment on the adaptation?

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I don't hear Williams first season theme in the new Main Titles

 

And Williams composed a ton of motifs for his original scores (he only wrote 4 episode scores ). I haven;;t listened to the new music to hear any references to them

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I've finished the show, and really like it. A bit in the style of the underrated EARTH 2. Hoping for a season 2!

 

As for the score, however, I'm less impressed. I like the references to the JW theme, but a lot of the underscore otherwise comes off as rather "giacchinoesque" chords that go nowhere. It's all big and symphonic, but there's very little heart of structure or thematic finesse. So it gets a 'meh' from me.

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I'm old, so I wasn't a kid at the time. More in my late teens. But yeah, fine show that was cut off way too early. Great music by David Bergaud too (unreleased, other than promo stuff).

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Well yea, I was 15 when it was on.  I remember Sunday nights featured SeaQuest DSV, Earth 2, and Louis & Clark: New Adventures of Superman!

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10 hours ago, Quintus said:

So I hear the new show is just boring? Multiple sources. Still early days so I wouldn't call it just yet, but the fact that it displays on KIDS Netflix isn't exactly encouraging.

 

Not boring at all. Easy to binge. And while it's no doubt aimed at the whole family, it's surprisingly dark on occasion.

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On 4/6/2018 at 6:29 PM, Thor said:

Listening to the soundtrack now. It's all big and rambunctious and traditionally orchestral (so I'm sure it will please the 'reactionary crowd'), but it doesn't do much for me, I'm afraid. Kinda directionless bombast, like a Giacchino score (but slightly better). Could be because I don't gravitate very much towards that kind of score anymore, I don't know. Some of the more lowkey tracks are fine, though. So far, I can hear no references to Williams' theme or themes beyond the brief cameo in the title sequence.

 

Directionless is indeed a good description.

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Yes, it’s a kids’ show. So is most of the pop cultural phenomena we consume today. Star Wars, Marvel, Pixar...

 

Still entertaining though!

 

And the music might not be all engaging throughout. I read complaints that is was mindless droning. Perhaps. But keep in mind it’s a TV series. By definition, they move slow plot wise. It makes sense to me that the music would match the pace.

 

However, there’s a wonderful musical section in Episode 2, which is melodic, energetic and has a distinct classical feel to it. It stands out. I mean, not just in the show... blockbusters beg to have this music written for them! It’s Williams-y but you can tell it’s not written by him.

 

That piece is what made me realize that the show sounds like no other, kids show or not.

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Another small thing I like with the score is when Lennertz utilizes more or less the same chord structures as in the JW theme, but then plays around with it. But you know that when the references to the actual theme or the chord structure of that theme is the best thing about a score, it's a warning sign.

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On 02 April 2018 at 8:38 PM, Jay said:

 

I don't understand what you mean.

 

 

EDIT: And now you've added to your post making my reply seem silly

 

 

Of course they don't burn episodes to DVDR and snail mail them out to reviewers.  They email them a link to a private, monitored, watermarked digital stream.

 

Yes, I did that about two minutes after my initial post ;)

 

Thanks to your and Thor's explanation, I now understand. It was a head-scratcher is all.

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On 2018-04-19 at 10:51 AM, rough cut said:

However, there’s a wonderful musical section in Episode 2, which is melodic, energetic and has a distinct classical feel to it. It stands out. I mean, not just in the show... blockbusters beg to have this music written for them! It’s Williams-y but you can tell it’s not written by him.

 

That piece is what made me realize that the show sounds like no other, kids show or not.

 

This piece is on the album, it’s called “Family Chores Fugue.”

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So here's the cues I heard Williams theme

 

Big statements in Danger Will Robinson and Dumping the Fuel.

 

Also the End Credits has a much longer statement than the Main Titles

 

 

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It's woven into plenty of cues.  But Lennertz's main theme also bears some passing intervalic resemblance to it, particularly when being twisted into a minor key and so on, so it can be hard to distinguish them unless you're paying full attention.

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I gave this a listen, really enjoyed it.

 

Some moments reminded me of David Arnold in action-music mode, and I really did like the way Lennertz blended Williams' season3 theme into the score.

 

Still haven't watched a moment of the show though.

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4 hours ago, Pieter_Boelen said:

Ah! I was beginning to wonder if and when that second season would show up.

Feels like it's been quite a while since the first.

 

True, but not terribly long compared to other shows I like. We've been waiting 3 years for a second season of TABOO now, for example.

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3 hours ago, Thor said:

 

True, but not terribly long compared to other shows I like. We've been waiting 3 years for a second season of TABOO now, for example.

3 years nothing new without being cancelled? Wow!

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