Know The Score: Rock Stars-Turned-Composers
The rockers now scoring your favourite movies

Trent Reznor and Attica Ross

Movie: 社群網戰  The Social Network (2010)


Director: 大衛芬奇  David Fincher 

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九吋釘 Nine Inch Nailer Trent Reznor was David Fincher’s first and only pick to score The Social Network. While Fincher had used a remix of NIN’s Closer for Seven’s opening and directed the promo for Only, the pair hadn’t worked together on film. Reznor had initial misgivings about the subject matter. “Is it just going to be a bunch of people on Facebook? Facebook sucks, so it just felt like, ‘Ugh’,” he told Pitchfork. A quick glimpse at Aaron Sorkin’s script, though, changed his mind. “When I realized what he was up to, I said goodbye to that free time I had planned.” Enlisting Atticus Ross, a regular collaborator of NIN and too-secret-to-mention-here side project How To Destroy, Reznor set to work. Tangerine Dream was a strong reference point, as was Moog master (and A Clockwork Orange scorer) Wendy Carlos, the touchstone for the crazed re-edit of Edward Grieg’s In the Hall of the Mountain King which accompanied The Social Network’s Henley Regatta scene. The result is a fraying, electronic mood piece that perfectly captures the movie’s creeping sense of mistrust and acrimony. Expect Reznor and Fincher to work together again – just don’t expect them to poke each other.

Standout track: The Gentle Hum Of Anxiety

Further listening: Nine Inch Nail’s Pretty Hate Machine (1989)

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Year Zero (2007)

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Movie: 死亡日記  The Virgin Suicides (1999)


Director: 蘇菲亞柯波拉  Sofia Coppola 

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Mingling restless electronica with plaintive pianos, Air’s beautiful, understated score provides one half of The Virgin Suicides two-part musical accompaniment. It shares screen time with a soundtrack that features ‘70s staples from Carole King to ELO, and one of their own tracks (Ce Matin-là) that gives a clue why Sofia Coppola called on the French duo in the first place. Their debut, Moon Safari – one part Serge Gainsbourg, one part soundtrack to a Hal Ashby movie – was shot through with exactly the kind of gentle nostalgia and spacey atmospherics to fit the mood of the Lisbon daughters anguished coming-of-age, albeit a lot more Left Bank than 1970s Michigan. Air also played matchmaker, calling on Phoenix singer Thomas Mars to sing on the duskily sax-fuelled Playground Lover and providing a romantic intro for Mars and his partner Ms Coppola.

Standout track: Highschool Lover 

Further listening: Moon Safari (1998)

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Talkie Walkie (2004)

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塗鴉男孩  Badly Drawn Boy 

Movie: 非關男孩  About A Boy (2002)


Directors: Chris Weitz, Paul Weitz

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Damon Gough’s Mercury-winning first record, The Hour Of Bewilderbeast, brimmed with bruised melodies and lovelorn lyrics that marked him as a talent to watch – and About A Boy directors Chris and Paul Weitz were watching. Two years later, the tea-cosyed folkster was lending his tender sensibilities to their adaptation of Nick Hornby’s novel, with a little help from Beck and Elliot Smith producer Tom Rothrock. A more perfect choice you couldn’t imagine. From the unrequited longing of Silent Sigh to the melodic jaunt of Something To Talk About and instrumental cues that fit hand-in-mitten with the film’s melancholy wit and warmth, it’s 16 tracks worth of movie-completing magic. There’s even a song for the duck.

Standout track: Silent Sigh

Further listening:

The Hour Of Bewilderbeast (1999)

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It's What I'm Thinking Pt.1 – Photographing Snowflakes (2010)



2009 Is There Nothing We Could Do?

2008 愛情三選一

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Johnny Greenwood (Radiohead)

Movie: 黑金企業  There Will Be Blood  (2007)


Director: Paul Thomas Anderson

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Talented bunch, Radiohead. Apart from all those seminal albums, their tracks have appeared on soundtracks from Vanilla Sky (Everything In Its Right Place) to Children Of Men (Life in a Glass House) and, er, Twilight (15 Step). Individually, they’ve branched out into the movie scoring business with consummate ease. Guitarist Jonny Greenwood was Paul Thomas Anderson’s choice for his psychological Western after hearing his haunting work on the entirely dialogue-free documentary Bodysong. He was rewarded with a majestic, string-soaked score as eerily haunting as the barren Californian landscape. Recorded at Abbey Road using a full orchestra, it’s filled with violins that scratch like unforgiving scrub and cellos that shimmer with tension. “Sometimes Paul would describe it close to the horror genre," Greenwood told EW. "We talked about how 'The Shining' had lots of [avant-garde Polish composer Krzysztof] Penderecki in it.” As Anderson put it: “When you have a title like that, the music better be a little bit scary.” It is. Deeply unsettling in fact, reverberating with menace that bursts into violent expression with all the unpredictability of Daniel Plainview’s rage. Happily it’s not Greenwood’s last cinematic outing – look out for his work with band mate Thom Yorke on the soundtrack for Edward Norton indie Stone.

Standout track: Open Spaces

Further listening:

OK Computer (1997)

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Amnesiac (2001)


In Rainbows (2006)

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2010 挪威的森林

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傻瓜龐克  Daft Punk

Movie: 創:光速戰記  Tron Legacy (2010)

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Director: Joe Kosinski 

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The chrome-headed electro titans look like they might have spent at least part of their formative years on lightcycles, and were heavily influenced by the look of Disney’s 1982 Tron world. An obvious choice to fire up for Tron Legacy’s neon-glowing musical cues, then? Well, yes, says director Joe Kosinski, who picked them from a shortlist of electronic artists. “We met for pancakes at the 101 Coffee Shop in LA,” Kosinski told MTV. “These guys take Tron very seriously. It was almost like they were interviewing me to make sure that I was going to hold up to the Tron legacy.” The score is still under lock and key at the Mouse House, but the Game Has Changed gives an early sample of its high concepts. If that’s anything to go by, the soundtrack will be a masterclass in tension-building electronica to accompany Sam Flynn’s journey into Tron world. One half of the robot duo, Thomas Bangalter, has also partnered up with Gaspar Noé to score Irréversible and to sound effect Enter The Void which, coincidentally, is the Tron of death-fixated acid-headfuck movies. Just so you know.

Standout track: released November 22.

Further listening:

Homework (1997)


Discovery (2001)



化學兄弟  The Chemical Brothers

Movie: Hanna (2011)

Director: Joe Wright

Following The Soloist, Joe Wright’s next film, the Bourne-meets-Nikita actioner Hanna, sees him tackle a bold new musical direction as well as cinematic genre. Swapping Beethoven for altogether chunkier beats, Wright has called on The Chemical Brothers, auld muckers of his from the early ‘90s warehouse scene, to provide the score. Back when they were still Dust Brothers, Tom and Ed Chemical called on Wright’s visual skills to create suitably psychedelic projections for their sets. While the Hanna score is still under wraps, Wright is promising ‘a modern beat’. With luck that means something akin to John Powell’s edgy work on the Bourne films, only dragged through a nightclub by its hair and force-fed half a dozen Red Bulls. We do know that for a movie in which Saoirse Ronan and Eric Bana batter seven shades of hell out of Western Europe, it’s not going to sound much like Star Guitar.

Standout track: Released sometime 2011.

Further listening:

Exit Planet Dust (1995)

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Surrender (1999)


We Are The Night (2007)

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Karen O And The Kids  (Yeah Yeah Yeahs女主唱組的樂團 )

Movie: 野獸冒險樂園  Where The Wild Things Are (2009)


Director: Spike Jonze

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Proof that exes can get along, Spike Jonze called on Yeah Yeah Yeahs’ lead singer (and old flame) Karen O to work on the bittersweet musical cues for his Maurice Sendak-inspired monster mash. Ms Orzolek did a Stallone and turned Barney Ross to assemble a kind of alt.rock Expendables: crammed into the studio were Yeah³ band mates Brian Chase and Nick Zinner, as well as members of Deerhunter, The Dead Weather, The Raconteurs and Liars, automatically making it 160 percent more indie-credible than any score ever recorded. It’s filled with the joyous primal screams of childhood exuberance: bright, crayon-drawn doodles that contrast perfectly with the bleaker, more mournful Carter Burwell melodies. A joy for kids big and small.

Standout track: Building All Is Love.

Further listening:

Fever To Tell (2003)

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It’s Blitz! (2009)



2007 搖滾啟示錄  I'm Not There



克林特曼塞爾  Clint Mansell

Movie: 月球  Moon (2009)


Director: Duncan Jones


Fans of scraggly-haired West Midlands indie pop will claim Clint Mansell as one of their own, but unless Get The Girl! Kill The Baddies! Is one of your desert island discs, you’ll agree that ex-Pop Will Eat Itself singer has gone on to bigger and better things. Something of a sci-fi specialist, Mansell’s scoring talents were first spotted by Darren Aronofsky, who used him for Pi, Requiem For A Dream, The Fountain, The Wrestler, and now Black Swan (which sees him share a credit with some dude called Tchaikovsky). He’s building a similarly fruitful partnership with Duncan Jones, following up his work on Moon with the score for Source Code. Moon, all disquieting piano chords and sombre atmospherics, builds slowly to a breathless crescendo to match Sam’s fraught space odyssey. We wouldn’t be surprised to see Mansell eventually join the likes of Hans Zimmer, Philip Glass and Dario Marianelli in the pantheon of modern movie greats – he’s seriously talented. Hey, even Joe Carnahan describes him as ‘The Man’, and he once organised a fight between a jet and a tank.

Standout track: Welcome To Lunar Industries.

Further listening:

This Is the Day...This Is the Hour...This Is This! (1989)

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Dos Dedos Mis Amigos (1994)

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2009 血戰:最後的吸血鬼  Blood: The Last Vampire

2008 愛情三選一  Definitely, Maybe

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2007 五路追殺令  Smokin' Aces

2006 真愛永恆  The Fountain

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負責為這段跨越時空的愛情譜寫動人旋律的是克林特曼塞爾(Clint Mansell),他原本是英國搖滾樂團Pop Will Eat Itself的主唱兼鍵盤手,樂團在1996宣布解散後,克林特轉往美國發展,以電子音樂作為創作主軸,98年,他在本片導演達倫的邀約下,為「死亡密碼」創作音樂,克林特就在這樣的機緣下走進了電影音樂創作的世界,2001年,克林特繼續為達倫的作品「噩夢輓歌」譜寫音樂,克林特為此片所寫的音樂深獲推崇,不但「達文西密碼」、「魔戒二部曲-雙城奇謀」等電影都曾選用為預告片的音樂,就連Paul Oakenfold、Delerium等電音名流都曾為本片的音樂打造混音盤。克林特的影音作品包括了「2005撒哈拉」、「毀滅戰士」、「拿命線索」、「11點14分」、「鬼地方」…等。

在三度為好友達倫所執導的電影【真愛永恆】創作音樂時,克林特力邀曾經在「噩夢輓歌」中有過絕佳默契演出的舊金山弦樂四重奏樂團The Kronos Quartet[*樂團演繹的音樂領域相當寬廣,包括傳統古典音樂、實驗音樂、爵士、探戈、墨西哥民謠,曾經跟David Bowie、Bjork、等流行藝人,女高音,寶萊塢藝人以及詩人、畫家等不同領域的藝術工作者合作]以及蘇格蘭搖滾樂團Mogwai攜手合作,三方透過流行前衛音樂、電子氛圍音樂(ambient music)與摩登古典樂之間水乳交融的演出,創造出一張兼具視感與音感,藝術感與情感的現代音樂原聲大碟,而在旋律的波動與翻騰之間,電影音樂本身也定義了「淒」與「美」這兩個有著強烈對比性格的情緒。 

2005 撒哈拉  Sahara

2005 毀滅戰士  Doom

2000 噩夢輓歌(夢之安魂曲)  Requiem for a Dream

Requiem for a Dream(2005).jpg


Underworld and John Murphy

Movie: 太陽浩劫  Sunshine (2008)


Director: 丹尼鮑伊  Danny Boyle


From their earliest Dark & Long days, Underworld have effortlessly combined widescreen melodies with darker undertones. Their work with composer John Murphy on Danny Boyle’s criminally underrated sci-fi builds a sense of euphoric awe in the face of something so majestic it basically reduces the crew of the Icarus II to gibbering wrecks – a little like the ‘lager, lager’ bit of Born Slippy did to festival crowds during the summer of Trainspotting. Boyle, one of the most muso of directors, had used Underworld on A Life Less Ordinary and The Beach, while Murphy provided the score for Millions and 28 Days Later. Murphy wrote the film’s most recognisable cue, Sunshine (Adagio in D Minor), since used again on Kick-Ass. Underworld, though, penned the hauntingly elegiac, Eno-esque Capa Meets the Sun (To Heal), a fittingly transcendent accompaniment for Sunshine’s solar-powered climax.

Standout track: Capa Meets the Sun (To Heal). 

Further listening:

Dubnobasswithmyheadman (1994)


Second Toughest In The Infants (1996)

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Barking (2010)




28 Weeks Later(2002).jpg


大衛霍姆斯  David Holmes

Movie: 戰略高手  Out Of Sight (1998)


Director: 史蒂芬索柏格  Steven Soderbergh

Out Of Sight(1998).jpg

Since Danny DeVito’s Jersey Films picked him out for Out Of Sight’s soundtrack, Belfast’s own techno god David Holmes has carved out a seriously impressive Hollywood niche for himself, turning out pitch-perfect scores to five more Soderbergh movies as well as, a bit closer to home, Steve McQueen’s Hunger. Alongside the Oceans scores, Holmes’ terrific work on Out Of Sight still stands out. From the woozy accompaniment to Clooney and Lopez’s trunk ride (The Trunk Scene), to the moody breakbeats of that hotel meeting (Tub Scene), it builds in diagetic sounds to layer the movie with atmosphere – and a barrel load of funk. “I come in at script level,” Holmes tells Indie London. "I get a copy of the script, I read it straight away and from that ideas start to form. I then compile CDs and send them to Steven and we communicate via email. If he’s feeling positive about something he lets me know and the other stuff he just ignores.”

Standout track: Rip Rip.

Further listening:

This Film’s Crap Let’s Rip The Seats (1995)

This Film

The Holy Pictures (2008)

The Holy Pictures(2008).jpg

北愛爾蘭音樂怪傑David Holmes在15歲時以DJ身分出道,青少年時期廣泛接觸龐克、 Mod與Acid House等類型音樂,95年起以「This Film’s Crap, Let’s Slash The Seats」、「Let’s Get Killed」等專輯博得英、美樂界佳評,2000年的專輯「Bow Down To The Exit Sign」更是一張融合音樂、影像與故事情節特質的跨界實驗作品,Holmes也曾應邀擔任Primal Scream、John Spencer Blues Explosion等樂團的製作人,2003年,Holmes與另一音樂鬼才Steve Hilton組成Free Association,繼續延展個人在電影音樂與流行音樂領域的實驗空間。 Holmes出其不意的類型音樂拼貼創意持續在【瞞天過海2:長驅直入】中發酵,無論是原創音樂或是所挑選的歌曲,Holmes總能透過節拍營造影片所需的氛圍,這回他的電影音樂調色盤依然是復古氣氛與新潮時尚並存,他除了在他那充滿復古氣味的電子搖滾音樂中融入了60年代諜報動作片中以管弦樂團來製作電影音樂的表現手法,還透過弦樂樂團中各種不同的樂器特質巧妙切換影片戲劇性與氣氛,形成一種全新的電子搖滾/弦樂時尚,同時也秉持他自涉獵電影音樂領域以來將lounge music的感覺帶進電影音樂創作的態度,持續為電影音樂創作綻放新的曙光。Holmes多元的電影音樂中佈滿了華麗的弦樂、悶騷的放克、隨性的爵士、迷幻的搖滾、熱情的拉丁搖滾,還有搭配影片的外景景緻,挑選了像是Ornella Vanoni的"L’appuntamento"、Piero Umilani的"Twilight On The Sea"等義大利情調音樂,或是Roland Vincent的"L.S.D. Party"、Dynasty Crisis的"Faust 72"等瀰漫著迷幻味道的法國情調音樂,Holmes在巧妙的彩繪電影情境之餘,無疑的又再度開啟了樂迷的視覺耳界。


瞞天過海 (2001)





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