Has Darren Aronofsky ever made a movie more secretive than “mother!”? His new film is just over one month from opening and there have been no photos released, no confirmation of what character each cast member is playing, and barely any footage shown to the public. For a movie from a major director and studio, plus one that features one of the world’s biggest stars in a leading role, this is simply unheard of. The director is refusing to let “mother!” out from under lock and key, and it’s only causing anticipation to skyrocket.
Read More‘mother!’ First Footage: Darren Aronofsky and Jennifer Lawrence’s New Film Looks Totally Bonkers
“mother!” is gearing up for appearances at Venice and Toronto, hinting that Paramount could have an awards contender on its hands. Aronofsky’s last movie, the Biblical epic “Noah,” was dismissed by the Academy, but he had much...
Read More‘mother!’ First Footage: Darren Aronofsky and Jennifer Lawrence’s New Film Looks Totally Bonkers
“mother!” is gearing up for appearances at Venice and Toronto, hinting that Paramount could have an awards contender on its hands. Aronofsky’s last movie, the Biblical epic “Noah,” was dismissed by the Academy, but he had much...
- 8/1/2017
- by Zack Sharf
- Indiewire
Clint Mansell is a long ways away from his days as frontman of alt. rock band Pop Will Eat Itself. Since his first stab at it on Darren Aronofsky's "Pi," he has forged a singular career as a film composer, working on productions as varied as "Knockaround Guys," "Sahara," Moon" and "Stoker." But it seems whenever he comes back to the table with Aronofsky, that's when something magical happens. Mansell has worked with Aronofsky on each of the director's features — "Pi," "Requiem for a Dream," "The Fountain," "The Wrestler," "Black Swan" and now "Noah" — and you can tell talking to Mansell that the creative rapport they've managed to sustain is rare. Mansell is pretty straight-forward about what he wants out of this gig, and Aronofsky has always come across the same way. So it certainly makes sense that they would keep coming back to the well. We talked for...
- 10/10/2014
- by Kristopher Tapley
- Hitfix
The key to interviewing a formidably talented individual, whose work you have greatly admired your entire adult life, is to not think about the specifics of that work while you’re talking to them. In the case of Clint Mansell, for example, don’t think about the haunting strings of Requiem For A Dream’s ‘Lux Aeterna,’ or the perfect guitar riffs of Smokin’ Aces. Definitely don’t think about that scene in Moon either, where Gerty explains to Sam that, in reality, he has no meaningful existence – and your tears are 50% Sam Rockwell’s heart-breaking performance, and 50% Clint Mansell’s mournful piano melodies.
Thankfully, Mr. Mansell is an interviewee that would put even the most nervous interviewer at ease – as he was ready and willing to engage, with thoughtful and passionate insights about his career and experiences. Speaking on the eve of the Us release of his latest film,...
Thankfully, Mr. Mansell is an interviewee that would put even the most nervous interviewer at ease – as he was ready and willing to engage, with thoughtful and passionate insights about his career and experiences. Speaking on the eve of the Us release of his latest film,...
- 4/2/2014
- by Sarah Myles
- We Got This Covered
Each month, we turn our spotlight onto the unsung artists behind the biggest new movie releases. Last month we highlighted Phil Lord and Chris Miller, co-writers and co-directors of The Lego Movie. This month it’s Clint Mansell, composer of the original score for Noah.
Chances are, whether you realise it or not, you have heard the work of Clint Mansell many times over. Even if you have never in your life watched a film scored by this prolific musician and composer, you will have unconsciously captured the various strains of his melodies on countless adverts, film trailers and episodes of Top Gear. Mansell – the former lead singer and guitarist of ‘alternative rock’ band Pop Will Eat Itself – makes memorable, moving music.
As a founding member of Pop Will Eat Itself, Mansell helped kickstart a group that would evolve through many stages of development during its fifteen year career. With...
Chances are, whether you realise it or not, you have heard the work of Clint Mansell many times over. Even if you have never in your life watched a film scored by this prolific musician and composer, you will have unconsciously captured the various strains of his melodies on countless adverts, film trailers and episodes of Top Gear. Mansell – the former lead singer and guitarist of ‘alternative rock’ band Pop Will Eat Itself – makes memorable, moving music.
As a founding member of Pop Will Eat Itself, Mansell helped kickstart a group that would evolve through many stages of development during its fifteen year career. With...
- 3/12/2014
- by Sarah Myles
- We Got This Covered
It has been another extraordinary year for motion pictures. We recently posted our staff list of the 30 best films released in 2013, and with 40 writers who participated, 160 films received at least one vote. Every year we also post an article listing the best movie scores, only this this time I decided to do something a little different. Instead of writing a lengthy, time-consuming article (which to be honest, wouldn’t give the music justice since you can’t hear any of the tracks), I instead decided to make a mix tape for our listeners. Included are 20 tracks from my 16 favourite original movie scores released this year.
Film scores were once exclusive to classically trained musicians, but over time, more and more filmmakers have hired rock, soul, electronic and hip-hop artists to create the original sound of their movies. This year alone, we’ve seen scores composed by M83’s Anthony Gonzalez...
Film scores were once exclusive to classically trained musicians, but over time, more and more filmmakers have hired rock, soul, electronic and hip-hop artists to create the original sound of their movies. This year alone, we’ve seen scores composed by M83’s Anthony Gonzalez...
- 12/29/2013
- by Sound On Sight Podcast
- SoundOnSight
Odd List Ryan Lambie Simon Brew 14 Nov 2013 - 06:19
The overlooked greats of the year 1998 come under the spotlight in our list of its 25 underappreciated movies...
Dominated as it was by the financial success of two giant killer asteroid movies, gross-out comedy hit There's Something About Mary and Steven Spielberg's Saving Private Ryan, 1998 proved to be an extraordinary year for cinema.
Okay, so history doesn't look back too fondly on Roland Emmerich's mishandled Godzilla remake, and Lethal Weapon 4 was hardly the best buddy-cop flick ever made, despite its handsome profit. But search outside the top-10 grossing films of that year, and you'll find all kinds of spectacular modern classics: Peter Weir's wonderful The Truman Show, John Frankenheimer's rock-solid thriller Ronin, and Terrence Malick's The Thin Red Line.
Then there was The Big Lebowski, the Coen brothers' sublime comedy that has since become a deserved and oft-quoted cult favourite.
The overlooked greats of the year 1998 come under the spotlight in our list of its 25 underappreciated movies...
Dominated as it was by the financial success of two giant killer asteroid movies, gross-out comedy hit There's Something About Mary and Steven Spielberg's Saving Private Ryan, 1998 proved to be an extraordinary year for cinema.
Okay, so history doesn't look back too fondly on Roland Emmerich's mishandled Godzilla remake, and Lethal Weapon 4 was hardly the best buddy-cop flick ever made, despite its handsome profit. But search outside the top-10 grossing films of that year, and you'll find all kinds of spectacular modern classics: Peter Weir's wonderful The Truman Show, John Frankenheimer's rock-solid thriller Ronin, and Terrence Malick's The Thin Red Line.
Then there was The Big Lebowski, the Coen brothers' sublime comedy that has since become a deserved and oft-quoted cult favourite.
- 11/13/2013
- by ryanlambie
- Den of Geek
Much has been made of Jay-z’s involvement with Baz Lurhmann’s epic adaptation of The Great Gatsby. The music mogul has never before lent his name or his talents to a project in this way before (we’re not counting his “inspired by” American Gangster album). Despite the hype, this soundtrack collaboration is fundamentally safe (if seemingly off to a fast start on the charts.). Not only is The Great Gatsby a tent-pole blockbuster with an above-the-title director and major A-list talent, it’s a grandiose celebration of New York jazz age glamour and excess — which in some ways,...
- 5/11/2013
- by Lindsey Bahr
- EW.com - PopWatch
You might not know Clint Mansell’s name, but you’ll certainly be familiar with his work. Lux Aeterna, a piece he composed for the soundtrack to Requiem for a Dream, has become part of the cultural fabric, featuring in adverts, film trailers and football matches, and he has composed scores for films as diverse as Smokin’ Aces, Doom and Moon. We recently had the chance to speak to the former Pop Will Eat Itself frontman where we discussed his career, the feeling of having his compositions become so ubiquitous, and his work with Park Chan-Wook on the soundtrack to Stoker.
We began by discussing the piano duet played by India (Mia Wasikowska) and Charlie (Matthew Goode) midway through the film, a track that, as Mansell put it, “It needed to be done prior to shooting, so it could be reproduced on camera, so that was in place.”
HeyUGuys: How...
We began by discussing the piano duet played by India (Mia Wasikowska) and Charlie (Matthew Goode) midway through the film, a track that, as Mansell put it, “It needed to be done prior to shooting, so it could be reproduced on camera, so that was in place.”
HeyUGuys: How...
- 3/7/2013
- by Ben Mortimer
- HeyUGuys.co.uk
Park Chan-wook's Stoker is another showcase for the former grebo-rocker turned moody soundtrack specialist
Hollywood discovered Clint Mansell in 2010, the year he turned 47. Black Swan, director Darren Aronofsky's psychodrama of a ballerina driven to the brink of sanity, was every bit the outlier its title suggested, vaulting its $13m budget to take more than $300m worldwide. Key to the film's ratcheting tension was Mansell's score, which radically reworked Tchaikovsky's famous ballet. "Motörhead," wrote the Guardian's Peter Bradshaw, "could not have played the Swan Lake theme any louder than this." Mansell received a Grammy nomination for Best Film Score, only to lose out to The King's Speech.
Mansell and Aronofsky have shared a fruitful creative relationship since the latter's directorial debut, 1996's Pi, but Black Swan's startling numbers meant that suddenly, all sorts of offers were on the table. It was then that Clint Mansell decided to take a bit of time off.
Hollywood discovered Clint Mansell in 2010, the year he turned 47. Black Swan, director Darren Aronofsky's psychodrama of a ballerina driven to the brink of sanity, was every bit the outlier its title suggested, vaulting its $13m budget to take more than $300m worldwide. Key to the film's ratcheting tension was Mansell's score, which radically reworked Tchaikovsky's famous ballet. "Motörhead," wrote the Guardian's Peter Bradshaw, "could not have played the Swan Lake theme any louder than this." Mansell received a Grammy nomination for Best Film Score, only to lose out to The King's Speech.
Mansell and Aronofsky have shared a fruitful creative relationship since the latter's directorial debut, 1996's Pi, but Black Swan's startling numbers meant that suddenly, all sorts of offers were on the table. It was then that Clint Mansell decided to take a bit of time off.
- 2/23/2013
- by Louis Pattison
- The Guardian - Film News
In a weird way Clint Mansell has become the next Danny Elfman, a key figure in a cult band that has gone on to become one of the most sought after film score artists in the world with strong associations to a small cadre of directors. Elfman rose out of Oingo Boingo, Mansell out of industrial tinged act Pop Will Eat Itself. Elfman will always be linked to Tim Burton, Mansell to Darren Aronofsky. And now Mansell will be plying his trade to the English language debut of Oldboy director Park Chan-wook, the Requiem For A Dream and Black Swan composer tapped to score Park's Stoker. Mansell is one of he absolute best in the game right now and his pairing with Park makes...
- 6/4/2012
- Screen Anarchy
Does the success of Trent Reznor, Clint Mansell and Mark Mothersbaugh suggest that the days of the orchestral soundtrack are numbered?
Two words said it all. Moments after winning a Golden Globe for his score for The Social Network last year, Nine Inch Nails' Trent Reznor tweeted "Holy shit!" Industrial rock singers aren't in the habit of winning Golden Globes for film scores, and certainly not their first one. But the landscape has changed in recent years – and is still doing so, fast. Two cinema releases this week alone have had their scores composed by singers: Sigur Rós' Jónsi has done the honours on Cameron Crowe's We Bought A Zoo, while Devo frontman Mark Mothersbaugh is responsible for 21 Jump Street.
This is not an entirely new phenomenon: notably, Dire Straits' Mark Knopfler hit big with 1983's Local Hero, and Tim Burton changed Danny Elfman's life...
Two words said it all. Moments after winning a Golden Globe for his score for The Social Network last year, Nine Inch Nails' Trent Reznor tweeted "Holy shit!" Industrial rock singers aren't in the habit of winning Golden Globes for film scores, and certainly not their first one. But the landscape has changed in recent years – and is still doing so, fast. Two cinema releases this week alone have had their scores composed by singers: Sigur Rós' Jónsi has done the honours on Cameron Crowe's We Bought A Zoo, while Devo frontman Mark Mothersbaugh is responsible for 21 Jump Street.
This is not an entirely new phenomenon: notably, Dire Straits' Mark Knopfler hit big with 1983's Local Hero, and Tim Burton changed Danny Elfman's life...
- 3/10/2012
- by Alex Godfrey
- The Guardian - Film News
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