WHIPLASH GRAMMY NOMINATION

WHIPLASH was nominated in the category of Best Score Soundtrack For Visual Media by The Grammy's!  The 58th Annual Grammy's hosted by LL Cool J will air February 15th from the Staples Center!

The WHIPLASH soundtrack consists of 24 tracks sequenced in 3 distinct parts: Original jazz songs written for the film, original underscore written for the film, and classic jazz standards by Stan Getz, Duke Ellington and more. There are also choice snippets of dialog included on the soundtrack that sum up the narrative of the film and help to put the music in context (à la Pulp Fiction). The Original Score & Big Band Songs were created by Justin Hurwitz. The original jazz songs were created by Grammy®-nominated composer, Tim Simonec.

Check out our exclusive website dedicated exclusively to the WHIPLASH soundtrack - http://www.whiplashsoundtrack.com/

Varèse Sarabande At The Oscars!

Varèse Sarabande At The Oscars!

Carol - The Movie and Sicario represented Varèse Sarabande's 16th and 17th nominations in the Best Score categories since the company was founded in 1978. Things got off to a good start right away with Georges Delerue being nominated (and winning!) Best Score for 1979 (A Little Romance). Looking back you realize what a wonderfully diverse group of composers comprise our previous 15 nominations. Which score is your favorite?

1979 A Little Romance– Georges Delerue - winner
1985 Agnes of God – Georges Delerue

5 Questions with Dave Porter

Please enjoy our latest 5 questions with composer Dave Porter who recently scored the limited series Flesh And Bone on STARZ.

1. Describe your latest soundtrack on Varese.

A: This is my first release on the Varese Sarabande label, and is a comprehensive collection of my score from the STARZ limited series "Flesh and Bone," created and executive produced by fellow Breaking Bad alum Moira Walley-Beckett.  "Flesh and Bone" is a gritty, complex series that steadfastly explores the dysfunction and glamour of the ballet world.  The series follows Claire Robbins, a transcendent ballerina, capable of reaching the sublime, but her inner torment and aspirations drive her in compelling, unforeseeable ways.  For those more familiar with my music from "Breaking Bad" and "Better Call Saul", this score represents another facet of my work as a composer when working with classical orchestral instruments.

2. Did the showrunner give you any interesting instructions or feedback to help you create the tonal palate for the series?  

 

Interview w/Joseph LoDuca - ASH VS. EVIL DEAD

And now a word from Joseph LoDuca, composer of the hit series ASH VS. EVIL DEAD on STARZ...

"I can’t tell you what a blast it is scoring Ash vs. Evil Dead. I was just out of college when I was introduced to Rob, Sam and Bruce in their “tree house” of an office space next door to a magic shop in Ferndale, Michigan. I had never written music for film, and I found these guys enormously entertaining, talented and driven. Plus they threw great parties. Hearing my music on the big screen for the first time was a turning point. Little did I know it would lead to a career largely as a result of their efforts.

So to see the three of them partnering together on the series, and to again sit in the music chair was coming full circle. I collaborated closely with Sam and Bob Murawski, his editor, on the score for the pilot. They attended the recording sessions, which really gave us the opportunity to finesse the details..."

5 Questions with Gregory James Jenkins

Recently we sat down with Gregory James Jenkins to discuss his work on THE FINAL GIRLS.  Get the album now - http://smarturl.it/FinalGirls.

1. Describe The Final Girls on Varese.
 
A: The Final Girls was my first feature score and I’m super proud of it.  In the film, our lead characters get sucked into an 80’s slasher movie called “Camp Bloodbath.”  One of the biggest challenges was trying to create a score that was heavily steeped in 1980’s while still trying to bring something new to the table.  There’s a modern twist to the production, but at times the score becomes hyperreal, as in it sounds more 80’s than anything from the 80’s actually sounded like.  On the flip side, there’s an emotional through line to the score that supports the mother/daughter relationship in the movie.  For this I used a more modern production palette while still trying to keep these cues in the same world as the 80’s music.

2. Did the director give you any interesting instructions or feedback to help you create the tonal palate?

5 Questions with Brian Tyler

Recently we had the honor of sitting down with composer Brian Tyler (Avengers: Age Of Ultron, Thor: The Dark World) and discussed his newest musical creation, Truth.

1. Describe your latest soundtrack on Varese.

A: Truth is an exploration of the often fragile and tense relationship between journalism and politics and the humanity of pursuing the truth. The music strives to explore the tones of the newsroom, the politics of war, power, and the personal side of these elements. The main character Mary Mapes (Cate Blanchett) is an incredibly strong figure following leads that land her in a very difficult situation as a journalist and personally with her mentor Dan Rather (played by Robert Redford). The pursuit of the truth embroils her whole CBS News team in a controversy and the music highlights the socio-political drama that unfolds as it becomes more and more tense.
The music also has an emotional side to it as the tensions of politics blurs with the truly personal relationships that are a part of their journey.

2. Did the director give you any interesting instructions or feedback to help you create the tonal palate?

 

5 Questions with Jim Copperthwaite

Recently we sat down with composer Jim Copperthwaite as he discussed in depth his newest musical creation, "Steve McQueen: The Man & Le Mans."
1. Describe your latest soundtrack on Varese.
A: It’s quite a hybrid.  I have a core string orchestra augmented by Piano and solo Flugelhorn along with processed electric guitars and lots of creative synth work.  It has its thematic core, its dramatic moments, but is more often than not is nuanced, atmospheric and beautiful.

2. Did the director give you any interesting instructions or feedback to help you create the tonal palate?
A: John McKenna, Gabriel Clarke and I considered a lot of approaches before I started writing.  They’d worked with me of a few things before so I think they were comfortable giving me a certain liberty to at least make suggestions about how the score might sound.  I provided them with a huge playlist of material that they digested in downtime during the shoot.  From this we were able to rule out certain approaches and refine others - for instance the notion of a solo Flugelhorn, which I felt could do a great job bringing some sense of the vulnerability of Steve McQueen.  By the time the edit began the music conversation was advanced enough for me to start writing in earnest.  

5 Questions with Laurent Eyquem

Recently we sat down with composer Laurent Eyquem and discussed his latest musical creation, Momentum.  Laurent is most familiar to U.S. audiences for his work on Winnie Mandela, (2011) and Copperhead (2013).

1. Describe your latest soundtrack on Varese.

A: Momentum is a hard-driving yet fluid, action score that is as much orchestral as it is electronic. My goal was to create a customized sound signature for the film that used both orchestral music and electronic sounds in unexpected, somewhat non-traditional ways. So the soundtrack is definitely a hybrid of electronic and orchestral, but I've stayed true to my melodic roots. The film itself is fairly intense, revolving around a woman who is a former CIA agent and who is on the run from the first frame of the film through to the end credits. So the score has a definite and persistent thread of forward movement underscored, even in the long torture scene. The interplay of orchestral and electronic sounds reflects the dichotomy of the main character - feminine and beautiful yet tough, driven and ruthless.

2. Did the director give you any interesting instructions or feedback to help you create the tonal palate?

5 Questions with Edwin Wendler

Varèse Sarabande just released the soundtrack to Unnatural via digital retail and as a limited edition CD autographed by both the composer Edwin Wendler and director Hank Braxtan.  Composer Edwin Wendler sat down with us to discuss his score to Unnatural.

1. Did the director give you any interesting instructions or feedback to help you create the tonal palette?

A: Director Hank Braxtan wanted the music for Unnatural to be as cold and unforgiving as the location of the movie: the Alaskan wilderness.  I picked sounds that felt like they fit in the environment: wooden percussion instruments, odd vocals, a banged-up piano, icy-cold electronics, etc.

2. Was there a particular scene you felt was key to the film?

5 Questions with Dario Marianelli

Varese Sarabande released the soundtrack to Everest via digital retail and CD this past Friday.  We sat down with composer, Dario Marianelli, to discuss his compositions on the soundtrack.

1. Describe The Everest soundtrack on Varese.

2. Did the director give you any interesting instructions or feedback to help you create the tonal palette?

A: My initial instinctive approach to the score, which the director liked and encouraged me to follow, was to have a calling voice, a distant siren call. It is at the same time a voice that represents the ancient goddess-like mountain, but also a luring and irresistible calling to one's own shipwreck.

5 Questions with Heather McIntosh

Heather McIntosh makes her debut recording on Varese this month with the score to the feature film, Z for Zachariah.  A long in demand cellist player as well as a composer, Heather has performed with everyone from Animal Collective and St. Vincent to Gnarles Barkley and Lil Wayne.

1. Describe your latest soundtrack on Varese?

This work has a very pastoral tone, even though we are depicting the end of the world, it takes place in the only part of the world unaffected by the apocalypse. Along with lush chamber strings and horns, there is also an subtle underlying tension developed by the use of electronic and acoustic manipulated sounds.

5 Questions with Trevor Rabin!

One of Varese's favorite composers gets the "5 Questions" treatment as Trevor Rabin discusses his work on the Soundtrack to the TV show, 12 Monkeys.  The album will release on July 31st. 

1. Describe your latest soundtrack on Varese?

The 12 Monkey score which I'm doing with my long time assistant Paul Linford, is a hybrid score of ethnic sounds, orchestra, and electronic, with a strong theme base.

5 Questions with Sergio Moure

Varese sat down with composer, Sergio Moure, for our regular 5 Questions feature.  His latest project for the soundtrack, Extinction, will release digitally on Aug 14th.  A limited edition physical release is scheduled for later this year.

1. Describe the Extinction soundtrack.
From the beginning, after reading the script, I knew I had a very important task when dealing with the emotions. Extinction is a story that delves into the deepest feelings, and I as a composer must reflect that. I wanted to make an emotional soundtrack, but also with some epic and rhythmic moments typical for the genre.

Congrats to Abel Korzeniowski!

"It’s absolutely thrilling to be nominated for two emmys for my work on Penny Dreadful. In this happy moment, I’d like to express my love and admiration for the show, the cast and the entire production team. "  - Abel Korzeniowski

Emmy Nominations Announced

Varese Sarabande is fast building a reputation for releasing high quality TV Soundtracks for some of the best televisions shows on the air today.  We would like to congratulate the following shows, actors and most importantly, composers, that we are proud to be affiliated with on these tremendous programs:

Outstanding Music Composition For A Series

  • Jeff Beal  - House of Cards
  • Abel Korzeniowski - Penny Dreadful

Outstanding Original Main Title Theme

  • Jeff Beal - The Dovekeepers
  • Abel Korzeniowski - Penny Dreadful

FIMUCITÉ 6: UNIVERSAL PICTURES 100TH ANNIVERSARY GALA

Diego Navarro conducts the Tenerife Symphony Orchestra and Tenerife Film Choir
On The 2-CD Limited Edition Set

Music by John Williams, Jerry Goldsmith, James Horner, Thomas Newman, Elmer Bernstein,
Bernard Herrmann, Danny Elfman, Alfred Newman, Hans Zimmer, Basil Poledouris, Dave Grusin,
Craig Armstrong, John Powell, Alan Silvestri and more!

(July 6, 2015– Los Angeles, CA) – Varèse Sarabande announces the release of their latest CD Club title, FIMUCITÉ 6: UNIVERSAL PICTURES 100TH ANNIVERSARY GALA on CD July 27, 2015. The 2-CD limited edition set (3000 units) retails for $19.98, and features live concert performances of celebrated films from the history of Universal Pictures including music from horror favorites FRANKENSTEIN, DRACULA, THE WOLFMAN and THE MUMMY, award-winning films including A BEAUTIFUL MIND, E.T.: THE EXTRA TERRESTRIAL, FRIED GREEN TOMATOES and ON GOLDEN POND, and family fare like THE LORAX and AN AMERICAN TAIL.

 

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