DOCSLIB.ORG

Exclusive Interview with Escape Plan's Composer Alex Heffes + Win The

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Exclusive Interview with Escape Plan's Composer Alex Heffes + Win The Friday Oct182013 Exclusive Interview with Escape Plan’s Composer Alex Heffes + Win the Soundtrack! Randy Jennings TheArnoldFans: What do you feel is the best instrument to accompany Arnold's screen presence? And same question for Stallone. Alex Heffes: Arnold plays a mysterious character in the movie - Emil Rottmeyer. His theme is played on low cellos and has a slightly exotic sort of harmony to get over his 'man of mystery' persona! I couldn't resist giving him a bit of a bad-ass musical entrance to the movie though. You'll know what I mean when you see it! Breslin (AKA Sly Stallone) has a theme that you hear at the start of movie. It's a restless string theme that is constantly rising - like it's constantly searching for the way out of a maze... TheArnoldFans: Haveyougottentheopportunityyetto meet Arnold or Stallone? AH: No. I haven't met either. I would have liked to make the premiere in NYC, but work commitments... TheArnoldFans: What was your musical goal for this film? AH: The main aim is the for the audience to have fun. The movie is a great ride. I want them going away thinking they have had a great night out at the movies. I hope the music can add to that. TheArnoldFans: Which composers are your favorites for the action genre? AH: All the greats. Jerry Goldsmith, Alan Silvestri. John Powell is great with action scores too. TheArnoldFans: How long have you been an Arnold fan and what are your top 3 Arnold soundtracks? AH: I grew up in the 70's and 80's. So how could I not be a fan! True Lies is definitely high up there for me plus Total Recall (great opening title sequence!) and the Terminator. Need I go on?! TheArnoldFans: Did you watch any prison movies to prepare and did you use any instruments that you felt gives audiences a prison mood? AH: No I didn't watch any prison movies in preparation. I like to react to what I'm seeing directly. The first thing I wanted to do is give the prison itself a 'theme' and sound. You first hear this when Breslin arrives in 'The Tomb'. It's a pretty weird hi-tech place so the music has a mix of synths and electronics with an orchestral background to give it scale. The prison is pretty epic. Thanks, Alex! Okay fans, if you haven't already seen Escape Plan, NOW is a great time to go for your first, second or third viewing! Be sure to pay extra attention to the soundtrack during your repeat viewings as Alex's score is worth a separate admission. I'm certainly enjoying listening to this digital copy provided to me by Metropolis Movie Music. Since Alex Heffes is such a big Arnold fan, I detect nods to Predator (exotic flavors). Overall the soundtrack is like no other Schwarzenegger-scored film. It's mysterious and high tech with a robust orchestral background. Track 4: "Entering the Tomb" is haunting with constantly rising strings that lead to fantastic Tron: Legacy-like synths and electronics. The soundtrack is now available for sale and available by Metropolis Movie Music. ESCAPE PLAN is a collaboration of two close friends - Heffes and director Mikael Håfström – resulting in a perfect mix of hard action thriller screenplay and beautifully composed orchestral music which makes this an impeccable piece of work. Photos by Caroline True You can buy the Escape Plan soundtrack now at: www.buythesoundtrack.com.
Load more

Recommended publications
  • The Music of Place, You Will Find the Addresses of Internet Sites You Can Visit to Hear Audio Clips Related to the Stories
    THE MU T Kokopelli, the Flute Player S Sounds of the Colorado Plateau . S IC OF PLACE Where this symbol appears in the OF THE WE THE OF pages of Sojourns—The Music of S ☉ Place, you will find the addresses of Internet sites you can visit to hear audio clips related to the stories. himsical appropriations have a long history in Western , AND CANYON , society. New England is populated with commercial S We’ve also teamed up with KNAU renderings of Minutemen and stiff-lipped Pilgrims, the W Arizona Public Radio at the South has its Jonny Rebs, and here in the American Southwest we see University of Northern Arizona to howling coyotes steel-cast as yard ornaments and the hunchbacked PLATEAU , Kokopelli making appearances everywhere from hand towels to S bring you a sampling of music and earrings and coffee cups. Just as the clever canine hunter is tamed by sounds collected in conjunction with the addition of a neck bandana, the fierce flute-playing warrior is often the contents of this issue. To listen, depicted with a cock-eyed grin and sleepy eyes. go to the KNAU Web site at http:// www.knau.org/Sojourns. Thanks to The original Kokopelli, however, is an extremely powerful and ancient THE PEAK AMONG S John Stark, general manager, and supernatural driven by lust and the capacious winds of seasonal the KNAU staff for collaborating change. He is fecundity incarnate and a capricious trickster in his AUDIO LINKS INSIDE with Sojourns to offer this additional games of seducing and enticing the unwary.
    [Show full text]
  • Predators As Agents of Selection and Diversification
    diversity Review Predators as Agents of Selection and Diversification Jerald B. Johnson * and Mark C. Belk Evolutionary Ecology Laboratories, Department of Biology, Brigham Young University, Provo, UT 84602, USA; [email protected] * Correspondence: [email protected]; Tel.: +1-801-422-4502 Received: 6 October 2020; Accepted: 29 October 2020; Published: 31 October 2020 Abstract: Predation is ubiquitous in nature and can be an important component of both ecological and evolutionary interactions. One of the most striking features of predators is how often they cause evolutionary diversification in natural systems. Here, we review several ways that this can occur, exploring empirical evidence and suggesting promising areas for future work. We also introduce several papers recently accepted in Diversity that demonstrate just how important and varied predation can be as an agent of natural selection. We conclude that there is still much to be done in this field, especially in areas where multiple predator species prey upon common prey, in certain taxonomic groups where we still know very little, and in an overall effort to actually quantify mortality rates and the strength of natural selection in the wild. Keywords: adaptation; mortality rates; natural selection; predation; prey 1. Introduction In the history of life, a key evolutionary innovation was the ability of some organisms to acquire energy and nutrients by killing and consuming other organisms [1–3]. This phenomenon of predation has evolved independently, multiple times across all known major lineages of life, both extinct and extant [1,2,4]. Quite simply, predators are ubiquitous agents of natural selection. Not surprisingly, prey species have evolved a variety of traits to avoid predation, including traits to avoid detection [4–6], to escape from predators [4,7], to withstand harm from attack [4], to deter predators [4,8], and to confuse or deceive predators [4,8].
    [Show full text]
  • B R I a N K I N G M U S I C I N D U S T R Y P R O F E S S I O N a L M U S I C I a N - C O M P O S E R - P R O D U C E R
    B R I A N K I N G M U S I C I N D U S T R Y P R O F E S S I O N A L M U S I C I A N - C O M P O S E R - P R O D U C E R Brian’s profile encompasses a wide range of experience in music education and the entertainment industry; in music, BLUE WALL STUDIO - BKM | 1986 -PRESENT film, television, theater and radio. More than 300 live & recorded performances Diverse range of Artists & Musical Styles UNIVERSITY OF SOUTHERN CALIFORNIA Music for Media in NYC, Atlanta, L.A. & Paris For more information; www.bluewallstudio.com • As an administrator, professor and collaborator with USC working with many award-winning faculty and artists, PRODUCTION CREDITS - PARTIAL LIST including Michael Patterson, animation and digital arts, Medeski, Martin and Wood National Medal of Arts recipient, composer, Morton Johnny O’Neil Trio Lauridsen, celebrated filmmaker, founder of Lucasfilm and the subdudes (w/Bonnie Raitt) ILM, George Lucas, and his team at the Skywalker Ranch. The B- 52s Jerry Marotta Joseph Arthur • In music education, composition and sound, with a strong The Indigo Girls focus on establishing relations with industry professionals, R.E.M. including 13-time Oscar nominee, Thomas Newman, and 5- Alan Broadbent time nominee, Dennis Sands - relationships leading to PS Jonah internships in L.A. and fundraising projects with ASCAP, Caroline Aiken BMI, the RMALA and the Musician’s Union local 47. Kristen Hall Michelle Malone & Drag The River Melissa Manchester • In a leadership role, as program director, recruitment Jimmy Webb outcomes aligned with career success for graduates Col.
    [Show full text]
  • The Retriever, Issue 1, Volume 39
    18 Features August 31, 2004 THE RETRIEVER Alien vs. Predator: as usual, humans screwed it up Courtesy of 20th Century Fox DOUGLAS MILLER After some groundbreaking discoveries on Retriever Weekly Editorial Staff the part of the humans, three Predators show up and it is revealed that the temple functions as prov- Many of the staple genre franchises that chil- ing ground for young Predator warriors. As the dren of the 1980’s grew up with like Nightmare on first alien warriors are born, chaos ensues – with Elm street or Halloween are now over twenty years Weyland’s team stuck right in the middle. Of old and are beginning to loose appeal, both with course, lots of people and monsters die. their original audience and the next generation of Observant fans will notice that Anderson’s filmgoers. One technique Hollywood has been story is very similar his own Resident Evil, but it exploiting recently to breath life into dying fran- works much better here. His premise is actually chises is to combine the keystone character from sort of interesting – especially ideas like Predator one’s with another’s – usually ending up with a involvement in our own development. Anderson “versus” film. Freddy vs. Jason was the first, and tries to allow his story to unfold and build in the now we have Alien vs. Predator, which certainly style of Alien, withholding the monsters almost will not be the last. Already, the studios have toyed altogether until the second half of the film. This around with making Superman vs. Batman, does not exactly work.
    [Show full text]
  • Knowledge Organiser
    Key Composers Purpose Bernard Hermann James Horner Music in a film is there to set the scene, enhance the AoS3 – Film Music mood, tell the audience things that the visuals cannot, or John Williams Danny Elfman manipulate their feelings. Sound effects are not music! John Barry Alan Silvestri Jerry Goldsmith Howard Shore Key terms Hans Zimmer Leitmotif – A theme for a character Mickey-mousing – When the music fits precisely with action Musical Elements & Common Associations (Musical Cliche’s) Underscore – where music is played at the same time as action Tempo Fast Excitement, action or fast-moving things (eg. A chase scene) Slow Contemplation, rest or slowing-moving things (eg. A funeral procession) Fanfare – short melodies from brass sections playing arpeggios and often accompanied with percussion Melody Ascending Upward movement, or a feeling of hope (eg. Climbing a mountain) Descending Downward movement, or feeling of despair (eg. Movement down a hill) Instruments and common associations (Musical Clichés) Large leaps Distorted or grotesque things (eg. a monster) Woodwind - Natural sounds such as bird song, animals, rivers Harmony Major Happiness, optimism, success Bassoons – Sometimes used for comic effect (i.e. a drunkard) Minor Sadness, seriousness (e.g. a character learns of a loved one’s death) Brass - Soldiers, war, royalty, ceremonial occasions Dissonant Scariness, pain, mental anguish (e.g. a murderer appears) Tuba – Large and slow moving things Rhythm Strong sense of pulse Purposefulness, action (e.g. preparations for a battle) & Metre Harp – Tenderness, love Dance-like rhythms Playfulness, dancing, partying (e.g. a medieval feast) Glockenspiel – Magic, music boxes, fairy tales Irregular rhythms Excitement, unpredictability (e.g.
    [Show full text]
  • Nhbs Monthly Catalogue New and Forthcoming Titles Issue: 2013/08 August 2013 [email protected] +44 (0)1803 865913
    nhbs monthly catalogue new and forthcoming titles Issue: 2013/08 August 2013 www.nhbs.com [email protected] +44 (0)1803 865913 Welcome to the August 2013 edition of the NHBS Monthly Catalogue. This monthly Zoology: update contains all of the wildlife, science and environment titles added to nhbs.com in Mammals the last month. Birds Editor's Picks - New in Stock this Month Reptiles & Amphibians Fishes ● The Warbler Guide Invertebrates ● The Avian Migrant Palaeontology ● The Biology of Peatlands Marine & Freshwater Biology ● Birds of the Indian Ocean Islands General Natural History ● A Field Key to Lichens on Trees Regional & Travel ● Frogs of the United States and Canada (2-Volume Set) ● Mammals of China (Pocket Edition) Botany & Plant Science ● Marine Plants of the Canary Islands Animal & General Biology ● Reunion Island Orchids / Orchidees de La Reunion Evolutionary Biology ● Penguins: Natural History and Conservation Ecology ● Reptiles and Amphibians of the Pacific Islands: A Comprehensive Guide Habitats & Ecosystems ● River Conservation and Management Conservation & Biodiversity ● The Symbol: Wall Lizards of Ibiza and Formentera Find out more about services for libraries and organisations: NHBS Environmental Science LibraryPro Physical Sciences Sustainable Development Best wishes, -The NHBS Team Data Analysis Reference View this Monthly Catalogue as a web page or save/print it as a .pdf document. Mammals A Pictorial Guide to Non-human Primates of India 173 pages | colour illustrations, colour Sangita Mitra maps | This is a colorful pictorial guide for Indian Primates, which concisely describes all the 15 species Paperback | 01/2011 | 9788192061610 occurring in India including their distribution, habit, habitat, morphology, sexual dimorphism, | #207408A | £26.99 Add to basket natural diet, endemicity, interspecific ..
    [Show full text]
  • CFP: Gender in the Golden 80S (Film & History Conference 6
    H-Amstdy CFP: Gender in the Golden 80s (Film & History conference 6/1/14; 10/29/14) Discussion published by Laura M. D'Amore on Monday, April 14, 2014 The 1980s is its own “golden age” of film when considering the idea/ls of gender contained within its borders. The era indulged representations of high-testosterone masculinity (such as Arnold Schwarzenegger, Sylvester Stallone, and Bruce Willis) and vulnerable femininity (such as Molly Ringwald and Ally Sheedy). And, while films of the decade were also capable of imagining men who were strong and sensitive (like Eric Stoltz in Some Kind of Wonderful, Rob Lowe in About Last Night, and Judd Nelson in The Breakfast Club), there were far fewer roles for women that broke from stereotypically feminized characterizations (like Linda Hamilton inTerminator , Lea Thompson in Back to the Future, and Demi Moore in St. Elmo’s Fire). What can an examination of gender roles in the films of the 1980s tell us about a decade that was fraught with a crisis of identity, simultaneously proud and insecure The( Outsiders, Dirty Dancing, Less Than Zero), strong and vulnerable (War Games, Red Dawn) real and imagined (Robocop, Predator)? How might we interrogate gender in American films of the 1980s, in order to better understand the ironies and anxieties contained within them? Possible paper topics include, but are not limited to the following topics as embodied in 1980s films: Representations of masculinity and femininity in film and television Character/izations that disrupt gender norms The relationship between gender and culture, i.e. politics, economy, the Cold War, post- industrialization Gendered tensions between characters, actors, filmmakers, etc.
    [Show full text]
  • The Predator Script
    THE PREDATOR by Shane Black & Fred Dekker Based on the characters created by Jim Thomas & John Thomas REVISED DRAFT 04-17-2016 SPACE Cold. Silent. A billion twinkling stars. Then... A bass RUMBLE rises. Becomes a BONE-RATTLING ROAR as -- A SPACECRAFT RACHETS PAST CAMERA, fuel cables WHIPPING into frame, torn loose! Titanium SCREAMS as the ship DETACHES VIOLENTLY; shards CASCADING in zero gravity--! (NOTE: For reasons that will become apparent, we let us call this vessel “THE ARK.”) WIDER - THE ARK as it HURTLES AWAY from a docking gantry underneath a vastly LARGER SHIP it was attached to. Wobbly. Desperate. We’re witnessing a HIJACK. WIDER STILL - THE PREDATOR MOTHER SHIP DWARFS the escaping vessel. Looming; like a nautilus of molded black steel. INT. PREDATOR MOTHER SHIP Backed by the glow of compu-screens, a half-glimpsed alien -- A PREDATOR -- watches the receding ARK through a viewport. (NOTE: we see him mostly in shadow, full reveal to come). INT. SMALLER VESSEL (ARK) Emergency lights illuminate a dank, organic-looking interior. CAMERA MOVES PAST: EIGHT STASIS CYLINDERS Around the periphery. FROST clouds the cryotubes, prevents us from seeing the “passengers.” Finally, CAMERA ARRIVES AT -- A HULKING, DREAD-LOCKED FIGURE The pilot of this crippled ship. We do not see him fully either, but for the record? This is our “GOOD” PREDATOR.” HIS TALONS dance across a control panel; a shrill beep..! Predator symbols, but we get the idea: ERROR--ERROR--ERROR-- Our Predator TAPS more controls. Feverish. Until -- EXT. ARK A final tether COMES LOOSE, venting PLASMA energy, and -- 2.
    [Show full text]
  • Alien Vs. Predator Table Guide by Shoryukentothechin
    Page 1 of 36 Alien vs. Predator Table Guide By ShoryukenToTheChin 6 7 5 8 9 3 4 2 10 11 1 Page 2 of 36 Key to Table Overhead Image – 1. Egg Sink Holes 2. Left Orbit 3. Left Ramp 4. Glyph Targets 5. Alien Target 6. Sink Hole 7. Plasma Mini – Orbit 8. Wrist Blade Target 9. Pyramid Mini – Orbit 10. Right Ramp 11. Right Orbit In this guide when I mention a Ramp, Lane, Hole etc. I will put a number in brackets which will correspond to the above Key, so that you know where on the Table that particular feature is located. Page 3 of 36 TABLE SPECIFICS Notice: This Guide is based off of the Zen Pinball 2 (PS4/PS3/Vita) version of the Table on default controls. Some of the controls will be different on the other versions (Pinball FX 2, etc...), but everything else in the Guide remains the same. INTRODUCTION Zen Studios has teamed up with Fox to give us an Alien vs. Predator Pinball Table. The Table was released within a pack titled “Aliens vs. Pinball” which featured 3 Pinball Tables based on Aliens Cinematic Universe. Alien vs. Predator Pinball sees you play through various Modes which see you play out key scenes in the blockbuster movie. The Table incorporates the art style of the movie, and various audio works from the movie itself. I hope my Guide will help you understand the Table better. Page 4 of 36 Skill Shot - *1 Million Points, can be raised* Depending on the launch strength you used on the Ball.
    [Show full text]
  • Alan Silvestri
    ALAN SILVESTRI AWARDS/NOMINATIONS EMMY NOMINATION (2014) COSMOS: A SPACETIME ODYSSEY Outstanding Music Composition for a Series / Original Dramatic Score and Outstanding Original Main Title Music WORLD SOUNDTRACK NOMINATION (2008) “A Hero Comes Home” from BEOWULF Best Original Song Written for Film* INTERNATIONAL FILM MUSIC CRITICS BEOWULF ASSOCIATION NOMINATION (2007) Best Original Score-Animated Feature GRAMMY AWARD (20 05) “Believe” from THE POLAR EXPRESS Best Song Written for a Motion Picture* ACADEMY AWARD NOMINATION (2005) “Believe” from THE POLAR EXPRESS Best Original Song* GOLDEN GLOBE NOMINATION (2005) “Believe” from THE POLAR EXPRESS Best Original Song* BRO ADCAST FILM CRITICS CHOICE “Believe” from THE POLAR EXPRESS NOMINATION (2004) Best Song* GRAMMY AWARD (2001) End Credits from CAST AWAY Best Instrumental Composition ACADEMY AWARD NOMINATION (1994) FORREST GUMP Best Original Score GRAMMY AWARD NOMINA TION (1994) “Feather” from FORREST GUMP Best Instrumental Performance GOLDEN GLOBE NOMINATION (1994) FORREST GUMP Best Original Score CABLE ACE AWARD (1990) TALES FROM THE CRYPT: ALL THROUGH Best Original Score THE HOUSE GRAMMY AWARD NOMINATION (1989) Suite from WHO FRAMED ROGER RABBIT? Best Instrumental Composition GRAMMY AWARD NOMINATION (1988) WHO FRAMED ROGER RABBIT? Best Album of Original Score Written for a Motion Picture GRAMMY AWARD NOMINATION (1985) BA CK TO THE FUTURE Best Instrumental Composition 1 The Gorfaine/Schwartz Agency (818) 260-8500 ALAN SILVESTRI GRAMMY AWARD NOMINATION (1985) BACK TO THE FUTURE Best Album of Original Score Written for a Motion Picture *shared nomination/award MOTION PICTURES RUN ALL NIGHT Roy Lee / Michael Tadross / Brooklyn Weaver, prods. Warner Brothers Jaume Collet-Serra, dir. RED 2 Lorenzo di Bonaventura / Mark Vahradian, prods.
    [Show full text]
  • Underwater Music: Tuning Composition to the Sounds of Science
    Underwater Music: Tuning Composition to the Sounds of Science The MIT Faculty has made this article openly available. Please share how this access benefits you. Your story matters. Citation Helmreich, Stefan. “Underwater Music: Tuning Composition to the Sounds of Science.” Oxford Handbooks Online (December 2, 2011). As Published http://dx.doi.org/10.1093/oxfordhb/9780195388947.013.0044 Publisher Oxford University Press Version Original manuscript Citable link http://hdl.handle.net/1721.1/114601 Terms of Use Creative Commons Attribution-Noncommercial-Share Alike Detailed Terms http://creativecommons.org/licenses/by-nc-sa/4.0/ OUP UNCORRECTED FIRST-PROOF 7/6/11 CENVEO chapter 6 UNDERWATER MUSIC: TUNING COMPOSITION TO THE SOUNDS OF SCIENCE stefan helmreich Introduction How should we apprehend sounds subaqueous and submarine? As humans, our access to underwater sonic realms is modulated by means fl eshy and technological. Bones, endolymph fl uid, cilia, hydrophones, and sonar equipment are just a few apparatuses that bring watery sounds into human audio worlds. As this list sug- gests, the media through which humans hear sound under water can reach from the scale of the singular biological body up through the socially distributed and techno- logically tuned-in community. For the social scale, which is peopled by submari- ners, physical oceanographers, marine biologists, and others, the underwater world —and the undersea world in particular — often emerge as a “fi eld” (a wildish, distributed space for investigation) and occasionally as a “lab” (a contained place for controlled experiments). In this chapter I investigate the ways the underwater realm manifests as such a scientifi cally, technologically, and epistemologically apprehensible zone.
    [Show full text]
  • Will #Blacklivesmatter to Robocop?1
    ***PRELIMINARY DRAFT***3-28-16***DO NOT CITE WITHOUT PERMISSION**** Will #BlackLivesMatter to Robocop?1 Peter Asaro School of Media Studies, The New School Center for Information Technology Policy, Princeton University Center for Internet and Society, Stanford Law School Abstract Introduction #BlackLivesMatter is a Twitter hashtag and grassroots political movement that challenges the institutional structures surrounding the legitimacy of the application of state-sanction violence against people of color, and seeks just accountability from the individuals who exercise that violence. It has also challenged the institutional racism manifest in housing, schooling and the prison-industrial complex. It was started by the black activists Alicia Garza, Patrisse Cullors, and Opal Tometi, following the acquittal of the vigilante George Zimmerman in the fatal shooting of Trayvon Martin in 2013.2 The movement gained momentum following a series of highly publicized killings of blacks by police officers, many of which were captured on video from CCTV, police dashcams, and witness cellphones which later went viral on social media. #BlackLivesMatter has organized numerous marches, demonstrations, and direct actions of civil disobedience in response to the police killings of people of color.3 In many of these cases, particularly those captured on camera, the individuals who are killed by police do not appear to be acting in the ways described in official police reports, do not appear to be threatening or dangerous, and sometimes even appear to be cooperating with police or trying to follow police orders. While the #BlackLivesMatter movement aims to address a broad range of racial justice issues, it has been most successful at drawing attention to the disproportionate use of violent and lethal force by police against people of color.4 The sense of “disproportionate use” includes both the excessive 1In keeping with Betteridge’s law of headlines, one could simply answer “no.” But investigating why this is the case is still worthwhile.
    [Show full text]