Chloe by Mychael Danna (Review)

Mychael Danna has just come from co- composing an amazing score with his brother for The Imaginarium Of Doctor Parnassus. When I first saw the trailer for Chloe nothing about it appealed to me, so I can’t say I was expecting anything great from the score.

The first track sets up our main theme, and it isn’t bad. However it doesn’t really jump up and connect with you. Then again, this is a very quiet score. The problem is that this quiet score doesn’t make any real attempt to connect with you emotionally so it’s just sort of there. The tracks really blend together so there isn’t anything that really stands out except for when the main theme finds its way back into the score now and then.

To be honest I found the entire experience quite distant and boring. Don’t get me wrong, there are plenty of quiet and atmospheric scores out there that manage to be incredibly emotionally engaging. The Hurt Locker is a pretty recent example of that. It’s just that when a score itself can’t take me on an emotional journey and tell me a story I find it really hard to enjoy the experience.

So, for me I’m gonna have to say pass on Chloe and keep on listening to Doctor Parnassus.

Bioshock 2 by Gary Schyman (Review)

We return to Rapture with Gary Schyman’s absolutely amazing followup score to Bioshock 2. The best video game scores are those that you can listen to apart from the game and immediately be transported back to the world in your mind. The main theme itself is haunting and beautiful. It echoes memories of a lost paradise and you can hear the loss and mystery within the music. In fact I will go ahead and make the statement that all the emotion felt in this game comes from the score. Sure the world of Rapture is disturbing and you can credit the game designers for constructing a breathtaking world, but it’s the music that brings it to life.

The music has a sense of timelessness to it. It gives us that Americana feel of the 1950’s, but credit that to the song usage in the game. The score finds balance between the songs to create the overall soundscape to the game. That wailing violin has become the signature of the score and to me that defines the score and is what gives the world and characters life.

While it’s hard to place this score in the realm of horror it does feel that way in certain points. The games themselves especially the first one were pretty scary and intense. The second game story-wise didn’t have that same visceral impact so there wasn’t that much the score could do to expand I suppose. It’s nonetheless an incredibly haunting experience. Schyman really accomplished something with the first score and he continues that here. We will forever associate Rapture with what Gary Schyman has crafted on this amazing musical journey.

Red Riding 1980 by Dickon Hinchliffe (Review)

Red Riding was originally adapted from the four novels that comprised Red Riding Quartet by David Peace. Back in 2009 they were made into 3 feature length television events that aired in the United Kingdom. They were released here in the states recently as 3 seperate films. The films chronicle the investigations of serial murders dealing with the Yorkshire Ripper case. This British Noir delves further and further into a web of corruption. So, I guess you could say it’s similar to David Fincher’s Zodiac if you need a reference except it spans 3 films.

The second part of the trilogy was composed by Dickon Hinchliffe and the sound is overtly a bit different right off the bat. This album was released separately with my guess being to not mix up the different composers’ work on the series. This score is more brooding and has an intensity that the first two scores didn’t have. It still manages to have a noirish feel to the music but in a more modern way. The sound is much more full and atmospheric. It doesn’t carry the melodic style the first two scores did, but it’s still effective in its approach.

Overall, this is great that these two albums got a release. It’s a nice collection of music to discover something you probably never heard of unless you are aware of the novels or these adaptations. The scores may lack any everlasting impact on the listener, but there are some great themes and atmospheric stuff here.

Red Riding 1974 & Red Riding 1983 by Adrian Johnston & Barrington Pheloung (Review)

Red Riding was originally adapted from the four novels that comprised Red Riding Quartet by David Peace. Back in 2009 they were made into 3 feature length television events that aired in the United Kingdom. They were released here in the states recently as 3 seperate films. The films chronicle the investigations of serial murders dealing with the Yorkshire Ripper case. This British Noir delves further and further into a web of corruption. So, I guess you could say it’s similar to David Fincher’s Zodiac if you need a reference except it spans 3 films.

The first and last films are entitled Red Riding 1974 and Red Riding 1983, and they were scored by Adrian Johnston & Barrington Pheloung. Let me start off by saying that I had no idea what to expect from this, but again I was introduced to an amazing score I would otherwise never even seek out. The first track sets up the minimalist theme that will continue to structure the score. It’s a simple guitar cue, but the arrangement gives it a sense of uneasiness while still maintaining a sense of calm if that makes any sense.

The rest of the score falls into traditional noir fashion. Lots of strings creating a sense of curiosity and always a sense of uneasiness. There are some quiet tracks that give it a little suspense, but nothing in the realm of horror music.

What we have here is a really nice compilation of music from 2 of the films. The simple melodic theme is a great jumping off point and it carries you through the score with a few other themes along the way. It carries some classic noir elements and overall is worth checking out. It may feel strange that the second film was released as a separate album, but it makes sense to group all of the same composers' work together.

Overall, this is great that these two albums got a release. It’s a nice collection of music to discover something you probably never heard of unless you are aware of the novels or these adaptations. The scores may lack any everlasting impact on the listener, but there are some great themes and atmospheric stuff here.

Love Happens by Christopher Young (Review)

Romantic scores can become incredibly overdone and fall into saccharine territory very easily. It takes a skilled composer to evoke real emotions without going the cheesy route. Christopher Young succeeds with Love Happens. The music is simple and guitar based. It’s light and doesn’t overpower. Young had decent material to work with in that he was able to venture into sadness. Tracks like “Past Isn’t” and “Vodka Logic” embrace a solo piano with soft strings to achieve that.

This isn’t a one dimensional score. It has a playful side to it but knows when to get serious. The main theme echoes throughout and it works because it’s simple. The track “It’s MMM. . . Good” playfully uses the title of the track as a lyric. Young also brings in the strings more heavily in later tracks to get a full bodied sound that resonates more.

All in all the score doesn’t break any new ground in the genre, but it succeeds. It’s heartwarming and has a flow of energy that is present throughout. Elements of it reminded me of John Powell’s terrific score to P.S. I Love You. Christopher Young knows not to overpower with melodrama or cheesy arrangements.

Assassin's Creed II by Jesper Kyd (Review)

Jesper Kyd has provided an amazing experience within his followup score to Assassin’s Creed II. A mixture of electronic and ethnic flavors create a full on atmosphere and immerse you in the world of the game.

The score propels you forward with the story and really doesn’t ever feel like “background” music. Of course there are a few tracks that may be classified as that such as the tracks that play when you approach a target. However they are structured and looped in a way where the player builds their own suspense and the music fits pretty much whatever images you as the player create.

The score has an other worldly feel but still grounds itself with certain sounds and melodies that give us something emotional to grasp onto. There isn’t anything sweeping or grand and it excels in its simplicity. Kyd embraces solo instruments and lets them shine. The score is a modern approach and works extremely well.

Composer Interview: David Buckley

David Buckley is a composer on the rise and is quickly making a name for himself. I first discovered Buckley’s work through Harry Gregson-Williams since Harry is one of my favorite composers. Buckley did some additional music on a few of Harry’s scores like Flushed Away, The Number 23, Shrek The Third and Gone Baby Gone. His solo projects include the Joel Schumacher thriller Blood Creek, the epic martial arts fantasy The Forbidden Kingdom and recently the Luc Besson produced action flick From Paris With Love. I was honored when David agreed to do a live interview.

Kaya: Thanks for agreeing to do this, especially a live chat.

David: No problem! I hope my spelling does not let me down. By the way, i have to get this Dragon score of Powell's - you seem to like it a lot!

Kaya: It really is great. I've been busy with work but my next day off I wanna see it in IMAX.

David: I worked on these little olympic commercial spots that were tied into the film, and the characters seemed great. Looks like Dreamworks is raising its game.

Kaya: I've always loved Dreamworks. Kung Fu Panda really won me over and back in the day when Harry and John did most of the stuff, haha. Which they still do I guess, last Shrek coming up.

David: Yes, being mixed just upstairs from me now.

Kaya: Well, enough about those guys.

David: Indeed.

Kaya: So, I guess it would be interesting to know how you found your way into music, and I guess eventually film music.

David: Well, my mother was a music teacher so from a very young age I was messing around on a piano. I was probably making a horrible noise, but was allowed to explore and not forced to play from scores. I would play nonsense for hours and hours and really loved it.

Kaya: Nonsense is always the best.

David: I went on to be a cathedral choirboy and then studied composition at Cambridge. So, a liberating beginning, and then a very traditional study period.

Kaya: Which is interesting, because I think your style is anything but traditional.

David: I think there are things in my music that fall back on some of my passions, early music being one of them. Little flavors of mediaeval and renaissance music under the surface. Nothing explicit, but it's part of the musical language I was brought up with.

Kaya: What were you listening to growing up?

David: Well, I was performing every day, mainly music from the 1600's. My composition teacher then introduced me to Stravinsky and Messiaen. My grandfather was Indian, so he would play a lot of traditional Indian music.

Kaya: That's interesting.

David: My dad loved jazz so that would be coming from his radio. Quite a mix.

Kaya: So what made you want to be a film composer? Which is a very specific branch of composition.

David: Two things. I had sung on the score to The Last Temptation Of Christ and it was an incredible experience. We only recorded for a day, but I began to realize that music could work alongside other art forms, and the synthesis could be thrilling. Shortly after, I performed a piece of music written by my friend and mentor Richard Harvey.

Kaya: Love Richard Harvey.

David: Again, it was an eye-opener - full orchestra, choir, ethnic instruments, electric instruments, visuals, lighting. At the age of 10, I thought 'fuck'!

Kaya: Hahaha.

David: From this point on, I knew I wanted to get into this field and Richard has been great in helping me get to where I am.

Kaya: That's interesting because I come from the other side I think. I saw The Rock when I was 9 years old and thought 'Well, holy crap. The music is so awesome'. And that's how I wanted to be a filmmaker.

David: I loved The Rock too. I think these moments stick in our minds and give us drive. I guess we are both fortunate to have caught the bug at such an early age.

Kaya: Yeah, even though some people look at my score & DVD collection and think I'm a bit insane.

David: Because it is so vast?

Kaya: That's one part, and that I own every Hans score, Harry score, John score, etc. The ones that impacted me when I was little. Even every one of yours commercially released.

David: I guess I own all those too!

Kaya: Haha, great! Common ground!

David: Yep.

Kaya: So how did you get involved with working with Harry Gregson-Williams?

David: Well Richard re-introduced us a few years back, but Harry and I had known each other in the classical music world back in the UK. I happened to be around when Harry was getting busy and he asked if I would stay on to help him out on a few things. I guess an example of being at the right place at the right time.

Kaya: Yeah, definitely. How would you describe working in such a collaborative environment. I know you've done some additional music on some of Harry's scores. How does that process help your creativity and learning process?

David: Anything I have learned about film scoring has come from Harry. I had worked in the UK prior to moving here writing music for TV and commercials, so I thought I was armed with the appropriate skills, but I was so wrong! It's pretty tough this film scoring stuff, and there is plenty to learn beyond just the musical. One also needs to understand film.

Kaya: I can't imagine how hard it is to tell a story through music, but you do it very well.

David: That's kind - thank you! I still feel I have plenty more to learn. I look back at an old score, and I think, gosh, I wish I had done this or that. But I have always been a revisionist.

Kaya: I do that all the time with my short films.

David: I think as we grow as people our outlook changes a little and it is inevitable that we want to tell the story a little differently. More about nuances than wholesale rewriting.

Kaya: Do you ever look back at a score you've done and think to take parts of that work and maybe expand on them for a different film? I guess sort of evolving your sound.

David: Well, sometimes the nature of the film dictates that one can never take the ideas as far as one wants. For example, I wrote a score for a Scott Free film - Tell Tale, which had quite a nice theme and harmonic invention, but the film just required me to simmer for most of the time. To have done anything more would have been way too much for the film. But I do think there are some ideas there that could be expanded, but I guess it would be odd, if not illegal to use them in another project!

Kaya: I just think it’s unfair that when a director reuses a shot or recycles a story idea it’s a sign of being an auteur and then i hear composers being called unoriginal or hacks when they reuse ideas.

David: Yes, and of course there are only 12 notes!

Kaya: Right, which makes what you do even more impressive.

David: Aren't there only 5 real plots for story-telling? Or something like that. Maybe we have it easy - over double the amount of building blocks!

Kaya: Haha maybe? So, I'm listening to The Forbidden Kingdom right now and I have to say it's maybe my favorite of yours.

David: Ah, thank you! I'm fond of it too. Brings back good memories.

Kaya: I know you mentioned this to me before, but could you go into the whole Morricone style riff that found its way into the score?

David: Yep - it was not actually my idea - I think it was a producer or music editor who thought it would be amusing to dress Ni Chang up with this sound. Even though on paper she comes across as a terrifying bitch, I think she needed a little help on screen. So this was an idea to give her a bit of identity. I tried other things along the way - including a shrill male countertenor voice, but this sound got the laugh in the screenings, and it also added to the idea that we were making a spaghetti Eastern!

Kaya: Haha, love that approach!

David: By the way, Harry may come down here any minute to ask me something, so do excuse me if I break for a few mins! I'll be back! Here he comes!

Kaya: Of course.

David: Ok! sorry.

Kaya: Not a problem at all. Was his question concerning Shrek at all? Or is it secret? Haha.

David: Oh, just a general catch up- he got back from London last night.

Kaya: Ah. So, From Paris With Love. That was a fun score I thought.

David: Well I thought so, but not every one did it would seem!

Kaya: I mean, I can honestly say the movie itself while fun didn't do a whole lot for me, but I was smiling at certain points with your score. Especially within the film.

David: I think the movie was what it was - an action flick, take it or leave it. Perhaps not the best script in the world.

Kaya: But it's a Luc Besson production, always fun stuff.

David: Yes - over the top, silly, noisy, raucous...

Kaya: The Fifth Element is still one of my favorite movies from growing up. So there's a special place in my heart for Luc.

David: Quite - a great film.

Kaya: You also scored a documentary called In The Land Of The Free . . . What was that like?

David: Yes, in fact it will be aired end of April, I believe. Not sure where. It's a fascinating story. Three guys who have been in solitary confinement for over 25 years - for a crime they almost certainly did not commit. I have worked on documentaries before, but this is feature length, and the music plays an important role in telling the story.

Kaya: How is approaching a documentary different than a fictional film? Is it more challenging?

David: Good question. I don't think it seemed that different. I still had to write around the dialogue, had to commit to themes and expand on them. It seemed surprisingly similar now I think back on it. Harder work perhaps because there was no money or very little.

Kaya: Yeah, that can be a limitation on smaller budgets, but I guess in the end it was a story with protagonists and a goal. Is that how you pretty much looked at it?

David: Totally. And even though a serious topic, there were moments of lightness and laughter - it tapped into the whole gamut of human emotions.

Kaya: The magic of the medium.

David: I guess if I were scoring a documentary about the history of the food processor, maybe it would have been different, but this film certainly felt comfortable and allowed me to do what I wanted to do.

Kaya: You do television too such as The Good Wife. How does episodic television bring new challenges versus films, which I imagine it does.

David: It does indeed. The producers were brave hiring someone who had mainly worked in film to score a TV show. The schedule is tough, and one has to be writing stuff that is close to right the first time out. The luxury of meetings and revisits that we have in the film world are not present here. I guess trusting instincts is key. I've been loving it though.

Kaya: Since the stories and arcs span much more time than in a film do you ever keep the end in sight or are you scoring in the moment. Like, I'm sure Micheal Giacchino on LOST has some comfort in knowing where the story will finish. And Geoff Zanelli said that The Pacific was all but completed in a somewhat finished form before they even touched it.

David: I actually don't know what will happen at the end of the season, so I guess I am writing in the moment. Not sure if that is good or bad now you mention it!

Kaya: I don't know, I feel like it may be hard on a composer’s part to close things out. Like I feel bad for Jim Dooley whose score to Pushing Daisies is amazing but of course that show got cut short. So now, it seems like it was a train of thought cut off in a way. Must be the same for the writers I guess if a show ends abruptly.

David: Yes, I had not realized that - have not seen the show.

Kaya: You also did the accompanying Shrek Forever After video game. Many film composers are doing video games these days. How do you make sure your music in a video game actually tells a story and doesn't fall into the category of "background music"?

David: I don't think one can be a hundred percent certain that it will play exactly as intended as there is a certain amount of chance as to how it will all work. For that reason, certainly in my experience, one writes to set scenes and describe locations and characters, as the story is really determined by the player. I think! Although I don't really play games. But that is my understanding. Having said which, the music I composed is symphonic and has its fair share of drama and emotion.

Kaya: What are the major differences of scoring a video game versus a movie?

David: I guess much the same as above. Add to that that much of the music must be able to loop. Therefore keys and tempos need to be considered in a different way. Overall a video game score cannot be linear as far as I can tell, as there must be infinite ways in which the story will run.

Kaya: We all know Harry scored all four Shrek films (first one co-composed with John Powell). Did you look at what he did in the films and work off those ideas and themes or did you start fresh?

David: The remit was to write in a 'Shrekian' style, but all material, including themes was to be original. Having worked on Shrek The Third and Shrek The Halls, I was acquainted with the style, so I understood what they were looking for. I'd like to think I've made it my own however and that there are some unexpected departures. It was certainly a fun project, and I was very glad to be back with a symphony orchestra once again...

Kaya: So, I guess maybe to wrap things up. If David Buckley is driving in his car alone with his thoughts. What music is playing?

David: Haha - well I can't drive, so that is a scary prospect...

Kaya: Haha, okay so maybe sitting at your computer.

David: I don't listen to enough music you know, but someone is always telling me about a great score here or a great band there. A lot of classical repertoire - particularly Debussy and Ravel. Crap answer, sorry!

Kaya: Haha, no, I like it!

David: I used to be terrible. I used to only listen to things I thought I would like and not give anything else the time of day, but I guess since moving on in this business, one needs to be open to anything and everything.

Kaya: Can't ever hurt! Haha.

David: I think western classical music holds a significant place in my heart - it's where I began my musical journey...

Kaya: Is there any film from the past you'd like to take a crack at with no disrespect to the original composer?

David: Oh wow, good question. Since doing Blood Creek, I have really enjoyed the horror genre and would love to score more horror films. So maybe something like Paranormal Activity - did it have a score? I can't remember.

Kaya: I don't think it did. For $11,000 can't imagine so, haha.

David: But, I think I would love to get my teeth into a film with a similar scope to The Forbidden Kingdom.

Kaya: But yeah, Blood Creek. I wish that got a release. I love the Urban Thriller album you put out on iTunes.

David: As much as I enjoy electronica, and I know it has a significant place in modern scoring, I do like thematic music, and the thrill of the full symphony orchestra.

Kaya: The blending of the two is equally great I think.

David: So, I imagine having a go at one of my favorite films - The English Patient would be a fun challenge. But I have to admit, that score is one of the best I have heard.

Kaya: Oh wow, nice pick!

David: So would be a doomed exercise.

Kaya: Well, it's been a pleasure to chat! I really appreciate it. Any big projects on the horizon?

David: Thank you! Very nice to talk with you too. There is something on the horizon, in fact I have started it, but it's not official yet, so I should probably not say anything... Sorry, i'll let you know when it is confirmed.

Kaya: No problem. Best of luck! Tell Harry I can't wait for Prince Of Persia, Shrek 4, Twelve and of course Unstoppable! He has a busy slate!

David: Thanks Kaya. Best of luck with your work too. Will pass it on!

Again, thanks so much to David Buckley for taking the time to do the interview with his schedule. Check out his scores to The Forbidden Kingdom and From Paris With Love; all available on iTunes, Amazon MP3 and CD. David Buckley’s Urban Thriller album is available on iTunes and Amazon MP3. The Shrek Forever After video game hits shelves on May 18, 2010 on pretty much every system available.