JEUX D’INFLUENCE.

More quality film music from the ever industrious Movie Score Media, this time from a television series entitled, JEUX D’INFLUENCE music courtesy of composer Raf Keunen, I have only heard one other example of this composers work which was back in 2018 when I came across his score for RACER AND THE JAILBIRD which I have to say I enjoyed immensely. The music for this series is a little different from RACER AND THE JAILBIRD as in it is slightly more complex and certainly more melodic both in a thematic and a kind of downbeat and sombre fashion. The music is attractive and at times hauntingly beautiful but in a dark and even sinister way. But, to be fair the music matches perfectly the series scenario and It’s many twists and sub plots. The series has a somewhat complicated plot, but it is one that is not only intriguing but also can make viewers stop and think about what is going on and could it happen? Raf Keunen has composed a score that is compelling and at times mesmerising, it is as I say somewhat more developed than his other works as in more polished and well-orchestrated,, but that can only surely be a good thing, it is minimalistic throughout, with there being no grand or operatic orchestral gestures present, but the sparseness and also the intimate sound that is fabricated via piano, cello, violin, strings and percussion is impressive and I think it is the minimal approach and intimate style that is the appeal of the work.

 

To attempt to make comparisons between the overall sound of Keunen and other composers I would say is near on impossible as he has his own unique musical fingerprint and creates his own original musical voice and styles, his use of strings within the score is stunning and innovative, whether it be an up beat driving cue or a fragile and delicate tone poem purveyed by solo violin or cello or indeed the use of plucked strings to create different levels or urgency and even apprehension. The work is filled with a dark but at the same time melancholy air, that has a habit of infiltrating ones mind and completely enveloping the listener.  I am a fan of minimal use of music in TV and film and in this case, it is done well and effectively, the entire score is a superb listening experience and is one to check out as I think it will become a firm favourite amongst collectors.

AN INTERVIEW WITH COMPOSER ARTURO CARDELUS.

Arturo Cardelus is one of the brightest rising stars in the film music arena, his scores are emotive and filled with passion and haunting themes. Born on December 27th 1981, he is an accomplished pianist as well as a talented composer and conductor of  music for film and TV and the concert hall.

 

Can you remember what your first memories of any type of music were?

When I was three years of age I had an accident that almost cost me my left eye. Because of that I had so many surgeries and was not allowed to play sports with other kids. I had to spend a lot of time in the hospital or lying on the couch and thanks to that I started listening to music. My dad had a classical music collection. I became obsessed with Beethoven, and that was the only music I listened to for several years.
What for you is the most important thing that music can do for a film?

To create emotional depth, to add what images can’t explain.

ALTAMIRA THE ORIGIN OF ART is such a beautiful score, what is the musical line up for the soundtrack, I mean by this what is the percentage of conventional instruments compared with any electronic support?
It is mostly conventional instruments. There are a couple of tracks where we blend synths and orchestra, but it’s mostly classical.
In 2012, you orchestrated the score for the film THE PAPERBOY, was this your first foray into film music and how did you become involved on the film?
It was my first involvement in a feature film. I was working at that time for Mario Grigorov (the composer of the film), mostly assisting with technical issues, and he asked me if I would be willing to orchestrate for him. I was thrilled! It was a great opportunity.

Do you think it is more difficult scoring a documentary as opposed to a fiction film?

Every movie is difficult in its own way. I find the process both fascinating and terrifying. Scoring a film is not an easy task.

What musical education did you have, and whilst studying did you concentrate upon one area of music as you are a pianist I am guessing you also studied the instrument whilst you were studying music?

I studied classical piano performance before switching to composition. I studied piano at the Royal Academy of Music, Franz Liszt Academy and the Conservatoria Superior of Salamanca, then I switched my focus and studied composition and film scoring at Berklee College of Music.

When you are writing the music for a movie, do you approach it in any set kind or order, for example main title through to end themes or is there no set way of working?
It depends on the director. I prefer to start on the main theme and grow everything from there, but some directors like to work differently.

 

Do you work out your musical ideas at the piano?
Unless it’s an electronic score, I like to start at the piano. To me it’s the most natural way to start the flow of ideas.

 

How many times do you watch a project before beginning to create the score?

Before starting two or three times, and once I start, probably a thousand. 🙂

 

 

Are there any moments within any of the films you have worked on where you felt that it was probably better not to have any music?
That’s usually my default approach. I like movies that use very little music or almost none. My “battle” with every director is that I always feel we are using too much music. We are getting used to scores that work almost wall to wall. I think that devalues the power of film music. It becomes like noise in the background and therefore less meaningful.

 

How much time were you given to score ALTAMIRA and how much music did you compose for the film?
Around 5 months, and I think it was around 40 minutes of music.

The CD release will be released soon of ALTAMIRA have you been responsible for compiling the tracks for the release, I see there is also music included on the release from another project, SWIMMING IN THE DESERT, can you tell us about that movie also?
Swimming in the Desert is a short film directed by Álvaro Ron. It tells the story of a little girl and her grandpa trying to make a plan to get water for a river that’s drying out.

 

When you are asked to become involved on a project, for you what is the best time to start on it, maybe at the script stage or is it better to wait for the rough cut of the movie?
I’ve started with the script in a couple of projects, and it’s great because I can start planning and creating themes, but I don’t really know the score I’m imagining until I see the images.

 

What artists or composers would you say had an influence upon you and maybe your approach to writing for film?
My biggest influence is classical music. I try to listen to a lot of different styles of music, and I enjoy and learn with most of them, but nothing inspires me more than Beethoven, Bartok, Mozart, etc. As for film music, my favourite composers are Rota, Morricone, and Badalamenti.

 

BUNUEL IN THE LABYRINTH OF TURTLES is such an impressive movie and your music is charming and emotive, what size orchestra did you have for the score, and where did you record the soundtrack?

We recorded at Abbey Road (Studio 2). We used a small ensemble (23 musicians) and a 50-piece choir.
Do you think animated movies need more music or at least more expressive music?
I think music in animation plays a crucial role. You need more music, and the music has to be more active and flexible. You often have two or three cues per minute, while in live action that’s not that common.

Do you conduct at all and do you orchestrate your film scores or listen from the control room?
I do both. For Buñuel I conducted some cues, but most of the cues were conducted by my friend Alfonso Casado, an amazing conductor. I prefer to listen from the booth so I can have a better sense of the big picture.

Your scores are very lyrical and filled with rich themes, what do you think of the current trend in film music to employ a noise over a sequence or a collection of drone like sounds?
I’m not a big fan, but I have to admit it usually works great with the images.

Do you perform on your soundtracks?

I perform most of the piano parts.

 

Call me FRANCIS is a four part series for NETFLIX when you do a series such as this is do you score the episodes in the order that they will be shown, or do you score sections of each episode, and will there be a CD release of the score as it is again stunning?

Thank you very much! I don’t think there’s going to be a CD, but I can ask. Call Me Francis was a double project, first a movie and then a TV miniseries. I composed the score for the movie first, and then I added some extra music for the TV show.

 

You have written music for concert hall performance, is writing for film more restricting do you think for the composer?

 
Yes. There are a lot of decisions that are made before you even start writing, and then it’s a very collaborative process.

 

What is next for you?

 

Working on a thriller and a dramedy. I’ve never done anything for those genres and I’m very excited about it.

My thanks to the composer for taking the time to answer my questions at such a busy time.

HIRED TO KILL.

 

HIRED TO KILL, was released in 1990. The films plot was a little thin but as with many such movies in the 1990’s it was not about the story but about the action or indeed how much action they could cram into a 90 minute or so time slot. The music by Jerry Grant is in my opinion a real gem and I so glad that it has now finally been released by Movie Score Media. In many ways the style employed by the composer is a fusion of the styles of Roy Budd and has to it hints of Jerry Goldsmith. It is a symphonic and synthetic mix of a soundtrack, but the use of these elements works so well throughout, the composer employing, strings, brass, guitar, woods and percussive elements to purvey a tense but action filled mood and atmosphere. Listening to the soundtrack is a delight, I kept hearing the Budd style or the sound often employed by Budd throughout HIRED TO KILL, it is a relentless and theme filled work that is highly exhilarating and enjoyable, its an example of what film music used to be like, (not a drone in sight or earshot).

 

 

Grant manages to remain thematic even within the action cues and also purveys moments of melancholy and poignancy. Grant began his career as a session musician and often worked on Motown recordings, his main musical focus was initially jazz, rock and funk, but he has contributed several vibrant and original sounding soundtracks to movies such as. NINJA ACADEMY, THE SECRET WORLD OF ALEX MACK and THE NAKED TRUTH, he also worked on various TV shows, QUANTUM JUMP, THE A TEAM, HUNTER and more recently BONKERS and DARK WING DUCK. Often Grant’s music being superior to the productions he wrote for. HIRED TO KILL is a soundtrack that you as a self-respecting film music collector should own, it is a score that you will listen to and think why was this not released before now, thanks Movie Score Media Again.

LONG SHOT.

 

LONG SHOT is a romantic comedy that was released recently (2019). Directed by Johnathan Levine, the film stars Seth Rogan who is a journalist that reunites with his former baby-sitter Charlize Theron who just happens to be the U.S. Secretary of State, the musical score is the work of two composers, Marco Beltrami who for this project teams up with Miles Hankins, who is a composer that maybe we are not too familiar, but it is true to say that Hankins has worked on numerous movie scores in Hollywood, but has not received a major credit on screen as he has provided either additional music or worked in some way on the scores other than main composer. His credits include A QUIET PLACE, Marvel’s FANTASTIC FOUR and received a nomination for a sports Emmy for his work on the documentary BEING SERENA. The score for LONG SHOT is unlike many of Beltrami’s other film scores, but I suppose I am categorizing the composer unfairly because I know that many when hearing Beltrami’s name think of horror films such as SCREAM, THE FACULTY and HELLBOY to mention just a few. LONG SHOT is a great soundtrack, it has to it a varied and wonderfully diverse collection of themes that range from action fuelled to light and even romantically laced. There to is a wonderful comedic aura to the score, but what I impressed by was the sheer diversity of the music, one minute we are listening to a luxurious sounding track filled with plush strings as in BUENOS AIRES which reminded me somewhat of the style of Alfred Newman’s love theme from AIRPORT. Then we are treated to the simple but effective FRED’S THEME which is introduced to us in a short but very sweet cue on the album via piano. Guitar and strings. Then we have, track number 4, HOSTAGE SAVED  THE MOTHER-FXXXXXX, which is a stirring and highly patriotic sounding piece filled with bravado and a rich abundance of fanfares etc. The majority of the work is somewhat low key, but nevertheless works well within the movie and is an entertaining listen away from the images it was intended to support. Sensitively scored by both Beltrami and Hankins LONG SHOT I have to say was a pleasant surprise for me and is a soundtrack I have re-visited a few times now since my initial listen. Check this one out I am sure you will be pressing the play button again and again.

ACHOURA.

Another classy horror from director Talal Selhami who also helmed movies such as THE FRANKENSTEIN COMPLEX, MIRAGES and SINISTRA. ACHOURA was shot in 2018 and is soon to start doing the rounds at a cinema near you. This is a French/Moroccan horror tale which focuses upon four childhood friends who enjoy scaring each other. The like minded quartet decide to explore an old house which is said to be cursed, one of the children disappears and the three remaining friends attempt to forget what happened on that night, but 25 years later their friend re-appears and eventually the group re-united have to confront what has happened in the past before they can begin to look to the future. The movie which was produced by Overlook films and Orange studios is an edgy and unnerving piece of cinema in which director Selhami painstakingly creates a place where the demon Bougatate who is from Islamic folklore can feed upon children.

Music in horror movies is important, a good score can make a movie and likewise a score that is over the top can destroy that movie, I am pleased to report that composer, Romain Paillot has created a score that not only elevates and underpins the action on screen but also has to it a musical persona that is wonderfully vibrant and addictive. Listening to the score I can hear many gentle nods to horror scores or at least the sounds and styles of horror movie soundtracks from the past. This is a score that is filled with a robust and richly thematic sound, there are wistful and flyaway moments realised via strings and woods, and of course there are ample sections that are dark, sombre and downright blood curdling. But the core of this soundtrack has a romantic and dare I say a melancholy heart. I love the way the composer utilises female wordless vocals, it gives the score an other-worldly sound and also heightens the tension or at times puts the watching audience at their ease, before a moment of shock and violence. No doubt about it ACHOURA is a jumpy and frightening movie, I dare you to sit and watch every minute of it without looking away at least 30 times. The score is for me anyway what a good horror score should be, with its urgent brass flourishes and its sinewy sounding virulent strings that seem to reach out at the listener in an attempt to maybe entwine them and pull them in to what is happening. The female vocals are stunning and effective to the point of being spine tingling. I can not fault this score in any way, it is a supremely driving and tantalising work, that I am confident will be poplar with the majority of film music fans, it’s a horror score, but also is a work that contains more than its fair share of lighter and poignant moments. The main score is by Paillot although there are two cues on the soundtrack that are penned by Ivan Palomares.

In many ways it has an overall sound that is Herrman-esque with touches of Christopher Young that are embellished with a Goldsmith like musical influence, in other words it’s damn good. The driving strings and the rasping brass that is underlined and punctuated by booming percussion do it for me, this in parts is unstoppable and relentless, but all the time remains thematic and powerful, it’s like this is a vintage score and has been tracked onto a new movie, which is in no way a disparaging remark, this is quality. The friendship theme is delicate, fragile and emotive, with the composer employing subtle piano and melodic strings to create a hauntingly beautiful piece, which he also achieves within the cue, LULLABY female vocal again returns supported by piano, both of which are joined by solo violin and then cello which add even more emotion to the proceedings, it is in short stunning. Every cue is class, this will I am sure go down as being one of the better horror scores of 2019.  It is unnerving, jangles the senses and also sooths and calms all at the same time. Have you heard it yet? Go buy it now…..