Award-winning composer, sound designer, and PhD researcher in spatial audio. Michael’s work spans film scores, TV productions, and immersive soundscapes, released through his label imprint Aurora Eclipse Productions and showcased internationally through the Royal Society of Arts.
All in Talking Film
Behind-the-scenes reflections from a visit to Sony Pictures in Los Angeles, including encounters with iconic scoring stages.
I was lucky enough to snap up some tickets to "Interstellar Live" at the Royal Albert Hall in which Hans Zimmer, Chris Nolan, Michael Caine and even Stephen Hawking were present! I got in early for the pre concert talks which commenced around 90 minutes before the show began…
Who remembers the opening raining blood scene from the 1998 movie Blade? I certainly do as Blade was an important movie for me as a then youngster at a time when the the big screen was just starting to fascinate me. Until yesterday, I had been totally unaware that the music from that scene was composed by Junkie XL and licensed for the scene; cue his initial interest in becoming a film composer.
Seasoned electronic music producer-turned-film composer Tom Holkenborg aka Junkie XL is being discussed more and more now in the film music world, what with his recent and ongoing collaborations with Hans Zimmer at Remote Control Productions for movies such as Man of Steel and Batman v Superman: Dawn of Justice and of course his amazing solo work on Divergent and 300: Rise of an Empire, but it occurred to me that I had never really taken the time to look into his work.
Yesterday while doing my usual scout, I stumbled across a Collider interview with Tom (below) and found myself immersed in hearing about his start as both an electronic music producer and his transformation into a film composer. I found it humbling to hear that for him, at the time of entering the film score production circuit, his tracks were at number one in several countries and despite this, he took up work as an assistant for the likes of Harry Gregson-Williams to gain a better insigne of just how scores are produced in Hollywood, an amazing level of dedication and respect for an industry he clearly admires…
So I went down to the IMAX last week to check out Alfonso Cuarón’s Gravity. Like most films, before even getting into the movie theatre I suspected that I may spoilt the film for myself! I always spend far too much time reading about the post-production process and the production of the soundtrack that I usually know far too much about the film. I sometimes feel I should ban myself from the internet for a few weeks before a movie release but I digress.
“The 90-minute picture — unusually short in today’s world — is cited as having just 156 shots in total, with several that are six, eight and ten minutes long”
- Arri Media
What can I say? I thought Gravity was nothing short of awesome! Emmanuel Lubezki’s shots and his editorial team have in my opinion utilised every possible frame of the 70mm IMAX film stock to deliver some truly mesmerising visuals. From the very beginning we have an opening continual 17-minute shot where the camera maneuvers around the characters in space and none of the videos and interviews I had seen with Gravity’s re-recording mixer Skip Lievsay or composer Steven price could prepare me for what the film had in store sonically…
Legendary sound designer Richard King and the prolific Hans Zimmer feature once again on The Soundworks Collection, this time discussing the sonic experience of The Dark Knight Rises. I have heard mixed reviews about the film with people saying they preferred the second, personally I loved it and I can still remember the sonic combination is King and Zimmer thundering through the cinema. Watching this has just made me want to see the film again. For those of you who struggled with hearing Tom Hardy's Bane performance, I would recommend visiting an IMAX cinema as I think you will be surprised at the difference in clarity with regards to the dialogue in this film.
