When Jean-Gabriel’s perfectly organized family ski holiday turns into a multi-generational, logistical and emotional nightmare, only he still believes he can pull it off…
For this sequel to “The First Star” Lucien JEAN-BAPTISTE set the tone from the first working meeting : “Home Alone”. So we opted for a very orchestral and fast score, filled with “Sleigh Belt” and “flying wood”. But, just like in the first part, the emotion is also very present. A real Christmas movie! Once again I called on the incredible talent of the Philharmonie in London to record all these notes.
“With Erwann it is a long and beautiful story guided by the success of “The First Star”.
A complicity was born. The music of this “second star” is a continuity.
Assuming the tone of “Christmas movies” with melodies that have nothing to envy to the great classics
GOYAS 2023 Nomination – Best Soundtrack – Best Song
Selection Festival Stiges – San Sebastian – Gerardmer
Follows Irati, a young girl who will guide a group of Christian and Muslim warriors through a journey in an ancient mythological world where everything that has a name exists, in an attempt to recover a lost treasure…
PAUL URKIJO ALIJO – Director
The key of the soundtrack of Irati was to underscore the duality within the story. On one hand, it had to be epic, wide and christian, supporting the concept of medieval movies. On the other side, it should represent the world of the pagan animism, magical and obscure, of the basque mythology.
The first part is more classical, more orchestral. The second part more is suggestive, telluric and experimental. The two worlds converge in the encounter of the two characters, each one with its own melody, that end merging into a unique theme. All this through sounds, textures and themes which bring us to the 8th century.
The song IZENA DUENA BADA, as a tradicional copla, talks about the genesis and the pantheon of the basque’s mythological world collected in hundreds of stories transmitted orally. Mari, supreme goddess, mother earth, protects and punishes her daughters and sons justly. A world full of magic deities that will continue to exist as long as someone remember their names.
The main challenge when composing the music for Irati was to find the epic but at the same time, do it in a kind of original and personal way. The lack of sources of the music of VIII century in that context of confrontation between pagans and christians, allowed us the use the imagination in the process of defining both the textures and instrumentation of the score.
Izzy is an energetic 9-year-old. Overscheduled and running late, her parents can’t pick her up on time on the last day of school before Christmas break. A blizzard complicates the matter, but not as much so as a pair of bad guys who are freezing in an ice cream truck. The school janitor is kidnapped by them, and it’s up to Izzy to save the day.
It’s close to Christmas and nine-year-old Izzy (Cameron Seely) is desperate to get a new guitar. Her parents have promised to take her after school if they can be bothered. You see, Izzy’s parents are ridiculously consumed with their very busy jobs, to the extent that they borderline neglect their two children. So off Izzy goes to school where she spends quite a lot of time with Ray the Janitor who teaches her the guitar. Then a blizzard hits, the school closes early and all parents must come and get their kids. All except Izzy’s. We’ve already established that they are not the most reliable people.
By now, Ray has realised that Izzy is on her own in the school and goes back to get her. He then gets kidnapped by the thieves who don’t know Izzy is still there. All the while the idiot parents have crashed their car, and are attempting to get to the school by other means. That includes trying to rob a snow ski, which they also crash. I told you they’re idiots.
Of course, this is primarily a kid’s Christmas movie so everything works out in the end. Christmas Break-In is basically Home Alone with a girl in a school. Sadly, it doesn’t have any of the same comic genius, decent script or plot as it’s predecessor. To the woman on IMDB who gave it two reviews, both with 10 stars – what were you thinking????
After old enemies kill his family, a former mafia enforcer and his feisty daughter flee to Milan, where they hide out while plotting their revenge…
Statement:
My Name is Vendetta is a film about physical and emotional survival. The music tells the story of the characters’ struggle in solving an impossible riddle to stay united and alive. We move quickly from the slow, soft, and welcoming rhythms of a daughter’s affection for her father, to the wild, percussive, and noisy races of escaping death. Likewise, we move from being glued to each sync to alienating ourselves from what is happening in the scene embracing Santo and Sofia’s story in its entirety. The use of synthetic timbres has allowed us to exploit the same sound matrix in many cases by treating it until we got the most different results, from sweetness, to total brutality, creating, beyond the themes, links of sound texture that act as a narrative thread. Giorgio Giampà – Marta Lucchesini – composers
Cast: Juliette Binoche, Paul Kircher, Vincent Lacoste..
Music by Yoshihiro Hanno
Label Plaza Mayor Company Ltd
Selection Toronto, San Sebastian, Tokyo Festivals….
A 17-year-old high school student trying to get to grips with the new challenges posed by death, life, the city and “the temptation of renouncement”.
Paris 26 December, the day before shooting.
Dear Yoshihiro,
I’m very excited to have you be the musician for my next feature film.
I admire your work and especially the music you composed for “Mountains May Departure”, Jia Zhangke’s film. I’m starting my shoot tomorrow, until mid-February. I am as always impatient and terrified. The story of my film is told by a 17-year-old man. He strives to reconstruct the events that took place in his life following the death of his father in a car accident. His narrative is troubled, chaotic, he tries to tame death, love and a shameful sense of freedom at the same time and it is as if he is trying to look the sun in the face. I would like to give my images to a theme that evokes disgrace, the loss of the idyll and the irruption of a new tenderness, where Lucas could take refuge when he no longer understands what is happening to him. I propose to send you regularly news of the film I am going to shoot, images, remarks, so that you can connect our two imaginaries for miles away. I am very happy to know that each of us, on two different continents, are starting to dream together of a film that does not yet exist. With all my friendship in Paris.
Christophe Honoré, Director
Before filming, Christophe Honoré gave me a briefing on the subject matter of Lycéan.
He asked me to compose a Family nostalgia theme based on the story and some photos.
I expressed in music the transition from a 17-year-old boy to adulthood, fragility, confusion, family ties, and hope for the future, and entrusted these compositions to the director.
Our collaboration achieved a miraculous synchronicity, with every song composed before filming resonating throughout this beautiful film. This was a surprise and a valuable experience.
“Vous n’aurez pas ma haine”: L’histoire vraie d’Antoine Leiris, qui a perdu Hélène, sa femme bien-aimée, pendant les attentats du Bataclan à Paris. Adapté du livre d’Antoine Leyris.
Antoine lost his wife in the Bataclan bombing in Paris. In a Facebook post, he explains how he resists hate: he opposes that of terrorists to his love for his 3-year-old son. Bereaved, he seems to be losing ground.
Antoine lost his wife in the Bataclan bombing in Paris. In a Facebook post, he explains how he resists hate: He counters the terrorists’ hate with his love for his 3-year-old son.
Alto flute, string quartet, large string ensemble and electronics –
the composer Peter Hinderthuer finds a sensitive equivalent in the music for both the breakup of Antoine’s social structure and the painful return to life.
Peter’s score explores the space behind what is actually visible. The space of despair, hatred, memory and hope. It is a music that oscillates between paradise and hell, light and darkness, angels and demons, life and death. In its subtlety, it avoids all pathos, but not compassion. It professes a cinema that touches and seduces. And it possesses what movies are in their essence: magic.
Kilian Riedhof – Director
The terror of 13.11.2015 is real, the people who had to experience it are real, the losses, the pain and the grief are as well. It was immediately clear that I could confidently throw my previous experience as a film composer overboard for this story. So I first wrote An Ode To Live – my attempt to counter the terrorists’ will to destroy with beauty and sophistication, as Leiris suggests in a TV interview. Who knows how the somewhat strange-seeming “You will not have my hate” would sound if I hadn’t been allowed to compose it completely freely without the footage from the editing room. The other pieces were also created at the request of the director away from the film and were only applied to the film very late in the editing process. I am very grateful to Kilian for this way of working, so I was able to focus fully on the emotional significance of this story.
Special Halloween Shockwave 2044 is the meeting of an electronic music album and an original soundtrack. That of an imaginary film, a fantastic B movie from the 80s, a genre that I like.
Shockwave 2044 is also the meeting of musical styles that are dear to me: the retro electronics of the 80s (the soundtracks of John Carpenter, those of Harold Faltermeyer, Brad Fiedel, Giorgio Moroder, the music of Tangerine Dream, Vangelis, Jean-Michel Jarre), contemporary sound design and film music (Hans Zimmer…), and orchestral film music (Michael Giacchino, Elliot Goldenthal). These musical styles inspired the sound palette that I used: the vintage sonorities of analog synths from the 80s, those, modern and evolutionary, specific to contemporary sound design and orchestral samples (strings, brass and voices). This album was produced with the support of the Centre National de la Musique.
Best friends embark on the challenges of Freshmen year while working through their own problems, until a tragic incident changes everything with their community lets in devastation….
Notes from the Director:
Director Zeke Jeremiah:
I had an idea for a film to create something that showed what is going on with the youth around us. Some of their thoughts and battles throughout the day. That’s where “Forever and a Day came in”. It was a challenging task and I wanted everything to have its appropriate meaning especially with coming up with the soundtrack for the film. The kids in the film are dealing with real heavy things in their life and I wanted the music to speak for them in that situation as it helped to express the feelings, they are having a long with relating to those who have been through something similar. The music was important here because it had to flow with the tone of the film, that goes with musical instruments, cadence and even lyrics. That’s where Composer Edward Antonio stepped in to bring this to life. We worked together for long hours on this as it proved to be a challenge, but that is what makes the journey of it all that much better. At the end Edward was masterful at compiling the musical notes with the tone of the film, giving it an emotional taste that will leave the audience in awe.
Notes from the Composer:
Film composer Edward Antonio:
When I first saw the film in its raw form, in my mind I could hear organic themes and orchestral tones throughout the scenes. It was obvious to me that it needed a traditional orchestra with some guitars and synths to also give it a modern feel as well. I would write several motifs and present it to the director for approval. We would spend hours on a scene down to the second on where to place it and when to enter and exit the music. Director Zeke was also familiar with music. He was incredibly patient and wouldn’t keep quiet if he did not agree with the score of a particular scene. In the end, it was an honor to work with this director. We had the same goal, to make the music fit the scenes like the film and music were always meant to be together.
Based on The Incredible True Story that Captivated the World
Based on the true nail-biting mission that captivated the world. An international team of elite divers is mobilized to rescue a boys soccer team trapped in a cave by rising floodwaters.
What’s it like to be trapped in a cave for 18 days? How does it feel to be part of one of the biggest rescue missions in history? When rising floodwaters trap a boys soccer team in a cave system in Thailand, an Irish cave diver (Jim Warny, as himself) joins the massive effort to save them. Shot at the original locations – and featuring real heroes involved in the rescue – this incredible saga based on true events is as close as you can get to experiencing for yourself the intensity of this inspiring adventure.
First up we have a trailer debut for Lionsgate’s “Cave Rescue,” a thriller based on the real-life Tham Luang cave rescue incident from 2018. It stars Jim Warny (“The Rescue”), Ekawat Niratvorapanya (“Girl From Nowhere”), and Lawrence de Stefano (“The Flight Attendant”) and opens in theaters, on demand, and digital August 5, 2022, with the Blu-ray arriving on September 13. Here is an official statement from director, producer, and co-writer Tom Waller:
“It was a true honor and privilege to work closely with the real cave divers who participated in the hazardous mission to save the 13 ‘Wild Boars’ soccer team from the cave in Thailand 4 years ago – they are the real superheroes of this miraculous story and showed us the power of the human spirit.”
Music Info 