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.
Three engaged couples, Flavio (Filippo Nigro) and Elena (Diane Fleri) , Federico (Alessandro Tiberi) and Claudia (Marina Rocco) and Enrico (Marco Bocci) and Martina (Caterina Shulha) decide to spend a weekend together in the Mediterranean, all guests on Flavio’s yacht. They are almost all rich, used to the good life, and this trip is an opportunity to spend time together and settle old grudges.
The outsider Martina, Enrico’s very young girlfriend, not used to that standard of living, but very attracted to the occasion, joins them. After the first day of celebration, sea and sun, the cruise takes a disturbing turn. Why did they wake up in the middle of the sea?
From Director Alessio Liguori
Music has always been the most important vibrational element in the success of any film. When I start working on a screenplay and focus on a new film, I listen to a wide array of music to channel the emotions of my work. Working with Fabrizio Mancinelli surpassed my goals of creating an impactful score. His sensitivity, knowledge of the medium and the shared culture of cinematic reference enable him to create unique and unforgettable music. Each time I work with him, he sets the bar higher and consistently manages to create something that well exceeds my expectations. Each challenge that we face in working on films becomes fascinating and stimulating. Working with Fabrizio is a privilege I wish for every director because he perfectly tailors his musical talent to each unique film.
From Composer Fabrizio Mancinelli
When Alessio Liguori asked me to compose the score for his thriller The Boat, I started carving themes based on the script, in order for the director to play some of the musical atmospheres on set to inspire the cast. Such a treat!
Some of the pieces ended up being used in the film, while others ended their lives on the cutting room floor.
We closely collaborated in creating a valid storytelling arc in music to properly underline each separate moment and grow until the end, without revealing too much of what we were about to see on screen.
It’s not usual to have this much fun while I work, especially on a thriller. I feel truly blessed to have collaborated with Alessio on this special film.
And I’m grateful to my great team (Luca Antonini and Piernicola Di Muro) and Budapest Scoring.
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.”
In BLANK, struggling author, Claire Rivers signs up for a fully A.I. operated retreat to help her writer’s block, but when an unforeseen software glitch occurs, she gets trapped inside her unit with a malfunctioning android, a degenerating host and no communication with the outside world. As time is running out, food supplies getting desperately low and the android becomes increasingly unstable, Claire must overcome her fears and find a way to outsmart the technology in order to make it out of the retreat alive.
BLANK is the debut feature from Director Natalie Kennedy (Down and Out) and has received accolades at several international sci-fi and genre film festivals including: Boston Science Fiction Film Festival (2022), GenreBlast Film Festival (2021), Lady Filmmakers Film Festival (2021), Other Worlds (2021).
Arhynn Descy – Score Composer – Statement
It was an utter pleasure working with Natalie on Blank. Her very clear vision allowed me all
the space in the world to use my creativity to realise that vision. There are two strands in
this film and I knew from the beginning that I wanted to create two different, yet
complementary sonic worlds to reflect these strands, which appear in multiple ways; real
person vs AI, present day vs past, outside vs inside, truth vs story. And so I crafted a sound
world that reflected all these ‘twos. Synth and programmed instruments were combined
with ‘real’ recorded piano and violin, the latter reaching a climax of human emotion, played
beautifully by violinist Francina Moll Salord in the final showdown between Claire and Rita –
real person vs AI. Correspondingly, the piano features its own duality in the score – a ‘real’
piano vs a broken piano and, as in the story, the two sound worlds collide and impact each
other as they inevitably must.
Natalie Kennedy – Director – Statement
It was clear in the early stages of working with Arhynn that her composition style would bring the essential sense of tension and unease so instrumental in the creation of the right tone and atmosphere for the film. As with other features in this genre the environment created by the soundtrack so heavily influences the end result and audience reaction. From gentle beginnings with a sense of unknown menace, to the stark realities of entrapment, threat and an insistent sense of foreboding, Arhynn’s skill and grasp of the concept shine through.
Manuel lives in a small coastal town. He plays bass in a band with his best friends. One of them is Felipe, with whom he shares a strong friendship. Unbreakable bond. Until the time comes to put it to test…
Composer Statement about the Music:
Making the music for Sublime was a very nurturing process for me. The 6 songs the protagonists band play during the story were the greatest challenge. I felt compelled to put myself in the shoes of the characters even before the casting happened. At times I went looking for my teenager rock bands experience. But hindsight was not enough, I needed to investigate the particularities of these character. How does Manu compose? Would Felipe make this riff? Would they use this word in the chorus? Would Fran sing this kind of melody?
The 3 songs from Azul’s brother band, are closer to the music that I listened to in my youth and that I still enjoy today. The composition work in this case was more natural. And regarding the incidental music, I felt those pieces had to be minimalist since the screenplay already had a lot of music performed by the characters.
For all this, I think that this album offers a kind of narrative within, and it is my wish that Sublime is a story that can be heard, even separated from its images.
Director Statement about the Music:
I’m delighted by this music. I wrote ‘band plays song 1’ or ‘Manu composes song 5’ in the screenplay. And now, after an amazing work with Emilio, I believe there couldn’t be better music for this film than this one. And I love we have this album version. I enjoy listening to it while I walk, especially when I walk in the sea shore.
Was born from two encounters: that between five musicians from different backgrounds but united by the same poetic and musical complicity; and that of two great poets, defenders of courtly love, whom we wanted to bring together despite the centuries that separate them. These poets are Machaut and Aragon. Although seven centuries separate them, their songs, the music of their verses, the spirit of their amorous and chivalrous speech intimately connect them and make them sound so similar.
Aragon never ceased to lay claim to this lineage of medieval poets of which he was a fervent connoisseur. “The last trouvere of modern times”, his poetry resounds like a marvellous echo to the voice of Guillaume de Machaut, “the last trouvere of ancient times”.
From the first medieval crusades, the knights brought back the oriental lyricism of the greatest Persian poets in their luggage. Oriental lyricism gave birth to our fin’amor, courtly love as it was sung by minstrels and trouveres. The art of singing was born. Aragon described and adopted this art so well – it consists in assigning a very definite formal framework to better depict an infinite feeling:
How can we become today’s “transmitters” of this fin’amor lyric, songs of the XIVth and XXth centuries? We have gathered the instruments that were devoted to it, each in its own time: the zarb and other Persian percussion instruments, the medieval flute and voice, the clarinet and electric guitar.
Esharêh’s first meeting with the five musicians set a challenge: was it possible to bring these different sounds together and put them at the service of the same song? The complicity of the musical proposals, the combination of tones, voices, songs came immediately and surprised us by their unity, their strength and their obviousness. Le Miroir Déserté was born…