Joseph Bishara's
score for the film establishes the chilling atmosphere from beginning to end, and there is some impressive power in both high and low frequency output here.
Not exact matches
For years, Woollen has
established his agency as the premier artisanal choice in arthouse
film marketing, assembling some of the last decade's most innovative and memorable trailers: that Social Network spot with the choral «Creep» cover; the Little Children teaser
scored to the approaching of a train; the Serious Man ad built around the repeated sound and image of Michael Stuhlbarg being slammed into a chalkboard.
In quite a short time, Nicholas Britell has quickly
established his voice as a
film composer, breaking out with the
score to the 2012 South by Southwest and Cannes
film festival premiere Gim me the Loot, and landing his first Oscar nomination earlier this year
for the emotionally affecting, poetic music heard in Barry Jenkins» Moonlight.
Taylor's original choice of composer was Carter Burwell who didn't seem the most natural of choices, so it wasn't entirely a surprise when he departed the project (seemingly not the director's choice, but the studio's); a very capable replacement was hired in the form of Brian Tyler, who also
scored the previous
film in the franchise, Iron Man 3, and just maybe he will become the «house composer»
for this series, which has so far failed to
establish any kind of distinctive musical identity.
Having
established a musical legacy with his iconic
scores for the previous six
films in the Star Wars Saga, acclaimed composer John Williams returned to
score Star Wars: The Force Awakens, ultimately garnering his fiftieth Oscar nomination
for his work.