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Thanks for the updates. I love JOSHUA and THE READER.
He's a very interesting composer and I'm glad he's dabbling in film soundtracks.
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Saw MARGARET today. Nice score (I preferred it to THE READER), but what a fascinating mess of a movie. A lot of great stuff, but so many scenes were either choppy or shapeless, and at 149 minutes (149 LONG minutes), I can't imagine the film was ultimately taken away from the writer-director, since one could easily (okay, maybe not easily, but at least plausibly) make a strong 120-minute film out of that material.
Anna Paquin was excellent in the lead, with a lot of strong supporting performances -- it was great to see Jeannie Berlin again, 39 years after The Heartbreak Kid (even though it was only filmed 33 years after Heartbreak Kid), in a major role
Was bummed that Muhly was dropped from Limitless; curious as to what his score was like. Looking forward to Extremely Loud or whatever that upcoming Daldry/Foer/Hanks/Moore one is called.
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Wow, such humility and grace in being dumped! So much classier than that Yared/Horner spat from Troy. Way to go Nico!
I agree. Always the sign of a confident artist. Similar to the way Desplat said that if any of his score for "Tree of Life" made it in the final film (which very, very little did) he'd still consider it an honor just to have written for Malick.
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By complete coincidence, today's "13 Chills" article spotlights Muhly's score for JOSHUA:
http://www.howlinwolfrecords.com/13chills/2011/13chills2011_10_joshua.html
Muhly is one of my favorite composers working today. His body of work is already intimidating -- and he's only 30.
He's got an opera coming up called TWO BOYS, with a libretto by Craig Lucas -- that's the one I'm looking forward to.
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LACMA is screening the longer cut of MARGARET in the next week or so, but the "only" 150 minute cut made me so restless I doubt I could sit still for the extended version. That's definitely one I'd rather watch on home video.
I think Muhly's MARGARET might have been a re-score. Either way, I second the appreciation of his work, and hope that it sees a CD release some day.
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It could have been Lesley Barber, who scored Lonergan's first film, YOU CAN COUNT ON ME. (But considering the six or so years between filming and its eventual release, they could have had a new score every year).
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So, me and DongaMan got to see another (film) composer IN THE FLESH last night when Nico Muhly appeared on stage to introduce his latest piece* (In Certain Circles) at the Liverpool Phil.
If you're familiar with his music/style, it was typical him.
Lots of flutey flutes fluting against discord in the strings and rattled piano.
Anytime peace or harmony threatened, they would be quickly moved on with some new agitated passage or tense motif.
At 21 minutes, it didn't outstay its welcome, but didn't really leave any lasting impression either.
It followed John Adams' Chairman Dances Foxtrot for Orch (and man, you can really hear where Danny Elfman gets HIS classical inspirations from...especially stuff like Serenada Schizo').
The concert was a real 'game of two halves' as, after the interval, all that minimal, fragmentary motif-ey 'new style' stuff was marmalised by Prokofiev's 3rd Symphony.
The rush of all that Hermmanny/Williams inspired  blood and thunder was a revelation, after the threadbare crumbs of part 1.
Give me the 'Good Old Hits' anyday.
*and suck up the applause, after it had finished.
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Hey, kEv, my sister and niece were there too. Though I don't suspect it was for him.
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Are they BIG Sergei fans...or did they just win Free Tickets?
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