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 Posted:   Apr 14, 2023 - 8:31 AM   
 By:   Night   (Member)

Mica Levi has reunited with Under the Skin director Jonathan Glazer and has scored his upcoming film The Zone of Interest.

https://www.worldofreel.com/blog/2023/4/xk151lnv0lxbqa6b1ii3sxy1a9xydg

 
 Posted:   Apr 15, 2023 - 10:42 PM   
 By:   AdoKrycha007   (Member)

Please, take away this woman's instruments !

 
 
 Posted:   Apr 16, 2023 - 7:53 AM   
 By:   Thor   (Member)

I'm always interested in Levi's scores as they appear in-context. Less so on album. But she's certainly one of the most idiosyncratic and interesting composers working in film today. UNDER THE SKIN was an amazing accomplishment; I'm curious to hear what she can deliver for Glazer once again.

 
 
 Posted:   May 19, 2023 - 11:54 AM   
 By:   Night   (Member)

The film just had its premiere at Cannes and Levi's score is often mentioned in reviews and is being praised left and right it seems.

 
 Posted:   May 19, 2023 - 11:57 AM   
 By:   Lokutus   (Member)

Zone of ZERO interest?

 
 
 Posted:   May 27, 2023 - 1:47 PM   
 By:   Night   (Member)

Mica Levi just won the Cannes Soundtrack Award for The Zone of Interest.

 
 
 Posted:   May 27, 2023 - 2:02 PM   
 By:   joan hue   (Member)

The Zone of Interest won that "Grand Prix" award at Cannes. Palme d' Or prize went to Anatomy of a Fall.

These movies have not yet been released to the general public. I would like to view both of them.

 
 Posted:   Dec 6, 2023 - 11:04 PM   
 By:   MKRUltra   (Member)

Saw this last night and the score is brilliant and very unnerving. There isn't much of it though--just two major cues for the overture and end titles, with little stabs here and there throughout. Hopefully there is some kind of release.

 
 Posted:   Dec 7, 2023 - 9:16 AM   
 By:   Erik Woods   (Member)

Saw this last night and the score is brilliant and very unnerving. There isn't much of it though--just two major cues for the overture and end titles, with little stabs here and there throughout. Hopefully there is some kind of release.

So, what exactly makes it brilliant? I haven't seen the film (so very eager to do so) but if the score plays only as an overture and end titles, then what is it doing to support the film besides a few stabs?

-Erik-

 
 Posted:   Dec 7, 2023 - 11:43 AM   
 By:   MKRUltra   (Member)

It is supporting the film in exactly the way it needs to considering the film's approach to the subject matter. The overture and end titles are the only pieces of music with any beauty or feeling because the film is explicitly designed to give none of that to its Nazi subjects. The film is shot like a documentary with hidden cameras embedded all around the set using only natural or source light, and the score is only used during the film to undercut the banal images in tandem with the sound design, which is constantly filled with the sounds of gunshots and executions and screams going on in the camp while the family goes about their day at home right next door.

The overture sounds a bit like Ligeti and the end titles sounds like Meredith Monk in hell.

 
 Posted:   Dec 7, 2023 - 12:12 PM   
 By:   Erik Woods   (Member)

Thanks for the detailed explanation. I'm still not sure why that makes the score "brilliant" but I'm looking forward to seeing the film at some point and hopefully I feel the same way as you do.

-Erik-

 
 Posted:   Dec 7, 2023 - 12:35 PM   
 By:   MKRUltra   (Member)

Not sure what kind of "explanation" would suffice for you in that regard lol

 
 
 Posted:   Dec 10, 2023 - 11:40 PM   
 By:   Night   (Member)

The score has won the Los Angeles Film Critics Association Award:

 
 
 Posted:   Jan 26, 2024 - 10:53 PM   
 By:   Obrytis718135   (Member)

This clip showcases about 30 clear seconds of the end credits music, which I consider to be quite an unsettling piece of work. Begins at about 0:25.

https://m.youtube.com/watch?v=WXBw7kuo9dM

 
 
 Posted:   Jan 26, 2024 - 11:25 PM   
 By:   Obrytis718135   (Member)

And here’s another 30 seconds.

https://m.youtube.com/watch?v=qW72Kpm4wsQ

 
 
 Posted:   Jan 27, 2024 - 5:54 PM   
 By:   Howard L   (Member)

Not sure what kind of "explanation" would suffice for you in that regard lol

Simple. If you had said there isn’t much underscoring but what’s there is brilliant because…etc. it would make more sense. Including the part about her approach.

 
 Posted:   Jan 27, 2024 - 7:16 PM   
 By:   Mr. Jack   (Member)

This score made me authentically nauseous in the theater, really effective and unnerving.

I would find it impossible to listen to outside of the film, though.

 
 Posted:   Jan 28, 2024 - 8:48 PM   
 By:   Tom Servo   (Member)

This clip showcases about 30 clear seconds of the end credits music, which I consider to be quite an unsettling piece of work. Begins at about 0:25.

https://m.youtube.com/watch?v=WXBw7kuo9dM


So, it's kind of like that "sound mass" or "musique concrete" approach?

 
 
 Posted:   Jan 29, 2024 - 4:43 AM   
 By:   Obrytis718135   (Member)

So, it's kind of like that "sound mass" or "musique concrete" approach?

Levi initially wrote more music, warm music for the Höss family, but as the film was being put together, Levi, director Jonathan Glazer, and editor Paul Watts found that the music was not only competing with the sound design but it dramatized the images in a way that would give off the impression that what was being depicted didn’t happen. So much of that music wasn’t used.

The only score in the film is a series of sounds that mostly play during the thermal imaging sequences, sounds that Levi called “yums”, deep robotic belches, as well as a couple of sounds that play during a notable sequence they called “zits”.

The opening prologue music, all played over a black screen, is related to that initial family music, a synthesizer paired with relatively deep voices, that descends in pitch as it plays.

The end credits music is the most substantive piece of music, where Levi recorded screams from a group of singers and made a sound collage with those voices ascending in pitch.

 
 Posted:   Jan 29, 2024 - 10:08 AM   
 By:   Tom Servo   (Member)

So, it's kind of like that "sound mass" or "musique concrete" approach?

Levi initially wrote more music, warm music for the Höss family, but as the film was being put together, Levi, director Jonathan Glazer, and editor Paul Watts found that the music was not only competing with the sound design but it dramatized the images in a way that would give off the impression that what was being depicted didn’t happen. So much of that music wasn’t used.

The only score in the film is a series of sounds that mostly play during the thermal imaging sequences, sounds that Levi called “yums”, deep robotic belches, as well as a couple of sounds that play during a notable sequence they called “zits”.

The opening prologue music, all played over a black screen, is related to that initial family music, a synthesizer paired with relatively deep voices, that descends in pitch as it plays.

The end credits music is the most substantive piece of music, where Levi recorded screams from a group of singers and made a sound collage with those voices ascending in pitch.


This is an excellent summary of the music, thanks much!

Of course, I read that last part about "screams from a group of singers" and my immediate thought was "yikes, that's unsettling!"

 
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