Marco Beltrami

[TheRealNeo]

Das der hier noch keinen eigenen Thread hat...

Hier seine ganzen bisherigen Werke aufzulisten wäre ein wenig viel...

2011 ist nicht nur das Jahr mit zwei John Williams Scores, sondern auch das Jahr indem Beltrami gleich dreimal (ohne Scream IV, kenne den noch zu wenig) zeigt, dass er zurzeit einer der besten aktiven Komponisten ist. Don't be afraid of the Dark (mein Favorit von ihm dieses Jahr), Soul Surfer und auch "The Thing" zeigen warum er zur Topriege an aktuellen Komponisten gehört, der aber desöfteren gerne auch aus dem Horror/Suspense-Bereich raus sollte.

Was meint ihr? Beltrami ein großer Horrorkrawallmacher oder ernsthafter, klassischer Komponist, wie man sie heute nur noch wenig findet?

[ronin1975]

na mit Soul Surfer hat er ja wie du schon richtig sagst mal gezeigt was er sonst noch kann neben Horror... ich finde auch, dass 2011 sein Topjahr wohl war... von seinen 4 Scores werden sich 3 in meinen Top10 finden... THE THING läuft immer noch rauf und runter...

Sicherlich hört man manchmal bei ihm raus, dass er das Horrorgenre leid ist (Scream4 war dann doch etwas arg laut und von der Stange, siehe auch das grosse Musikteam das er da um sich scharte), aber wiederum wenn er wirklich Lust hat kommt auch echt was dolles bei rum.

Bin seit SCREAM nen Fan und finde ihn nach wie vor den Besten aus der Generation, nur schade, dass er schon lange keinen richtig guten Film oder erfolgreichen Film mehr erwischt hat. Wird Zeit dass Del Toro ihm mal wieder was Dickes zuwirft (dass er HELLBOY 2 nicht machen durfte war ein Skandal, erst Recht im Vergleich mit dem Langweiler den Elfman dann ablieferte).

Hatte ja das grosse Glück die Woche bei den Aufnahmen von THE OMEN in London dabei zu sein, das war echt toll... Marco selber ist allerdings nen bisschen nen Langweiler... :-)

[TheRealNeo]

Was sprach denn damals bei Hellboy II gegen ihn?

[ronin1975]

angeblich wollte DelToro halt schon immer mal mit Elfman arbeiten, ich kann mir aber gut vorstellen, dass Universal einfach drauf bestand, die haben mit Elfman ja gerne gearbeitet und bis dahin (bisher???) nicht mit Marco... für die Musikrechte hätten sie ggfs auch nochmal bezahlen müssen, selbst wenn Marco dabei gewesen wäre und da hatten die vielleicht keinen Bock drauf, aber koi Ohnung... dass DelToro bisher nichts mehr mit Elfman gemacht hat, spricht eigentlich dafür, dass das ne Zwangsarbeit war... wirklich schade, bei der Menge an Themen die Marco für Teil 1 geschrieben hatte...

[Quinlan]

Beltrami hat auf seiner Homepage die Partituren zu seinen Soundtracks hochgeladen, u.A. auch von "The Thing" und "Don't be afraid of the dark". Von dem Typen kenne ich bislang überhaupt nix, aber die Hörbeispiel zu "dont be afraid..[...]" find' ich richtig cool. Ich glaub', den werd' ich mir mal zulegen.

Jedenfalls interessant zum Rumstöbern: http://www.marcobeltrami.com/credits

[TheRealNeo]

"Don't be Afraid of the Dark" gibts aber leider nur als Download, falls das ein Problem für dich ist.

[Quinlan]

"Don't be Afraid of the Dark" gibts aber leider nur als Download, falls das ein Problem für dich ist.

Oh, so iTunes- und amazon-mäßig? Hm... ô_o Stümmt.

Ja dann gibt's erstmal kein "don't be afraid"^^" Vielleicht hat ja irgendien eifriger youtube-Kanalbesitzer die Teile hochgeladen. Weil der Score nämlich auch sonst ziemlich schwer zu finden ist

[Lars Potreck]

auf seiner website kann man sich 3 stücke aus dem film Deadfall anhören

http://www.marcobeltrami.com/deadfall

[Sebastian Schwittay]

Track 1 und 3 klingen wie eine Variation über die sphärischen Teile von 3:10 TO YUMA, Track 2 ist experimenteller. Insgesamt nicht uninteressant, aber schon sehr bildbezogen und atmosphärisch. Bin nicht sicher, ob ich das auf CD bräuchte.

[Soundtrack Composer]

Ein Artikel über Beltrami aus der Variety:

Marco Beltrami: Tapping into the keys of success

"I think of each movie as a puzzle," says composer Marco Beltrami. "The fun is in solving the puzzle, finding a musical identity for the picture, however that can be summed up. It can involve a theme or themes, or things that may not be melodic: certain sonic, harmonic or rhythmic ideas. Until you figure it out, you're hopeless. But after you do, you're on fire."

That flame has been burning since 1996, when horrormeister Wes Craven hired Beltrami for "Scream." Sixteen years later, his resume includes two Oscar nominations (for "3:10 to Yuma" and "The Hurt Locker"), an Emmy nom (for the Oprah Winfrey-produced "David and Lisa"), and more than 50 films, including box office hits "Terminator 3: Rise of the Machines," "Live Free or Die Hard" and "I, Robot" -- not to mention three "Scream" sequels.

"Marco has a sense of the material in front of him," says "3:10 to Yuma" director James Mangold from Sydney where he is shooting "The Wolverine." "He understands when to let all of the horses out of the barn and when to hold them back, staying within the emotional reality of the scene and not overwhelming it."

The 46-year-old New York native was typecast for a long time as a genre composer, largely on the basis of his "Scream" music and later films including "Mimic," "Resident Evil" (with rocker Marilyn Manson), "Blade II" and "Hellboy."

Beltrami's not even a fan of horror films. But his grasp of advanced classical techniques -- acquired while tinkering in the electronic music labs at Brown U. during the mid-1980s, then honed in more serious graduate studies at Yale -- served him well.

Even more valuable, however, was his year in the USC scoring program where he studied under the great Jerry Goldsmith. "He would also give us a scene from whatever movie he was writing at the time, and have us score it," says Beltrami. "Then we would go to his recording sessions and see what he had done. It was a great educational experience."

Three years after USC, he auditioned for "Scream" with music for its 13-minute opening sequence. "We knew in half a minute that we had found our composer," recalls Craven. "The music was haunting, beautiful and totally original. Marco turned out to be shy and soft-spoken, but a fountain of ideas and innovation. I never looked back."

The career "turning point," as Beltrami puts it, came in 2005 when he was hired to score Tommy Lee Jones' directorial debut, "The Three Burials of Melquiades Estrada." The evocative, Tex-Mex flavored score was unlike anything he'd ever written.

"I sensed that he was looking for something that was different than what he was usually called upon to do," says Jones. "I told him I wanted the music to sound like it was coming out of the country, not being poured onto the country. He was grateful to learn that we weren't interested in anything that seemed conventional. He invented some instruments, which pleased me to no end."

Those "invented instruments" were electronically manipulated recordings of plucked cactus needles. "It was an epiphany moment for me," says the composer, "trying to incorporate the sound environment of the film itself into the music. It's grown from there, and really had its culmination in 'The Hurt Locker.' "

Oscar's best picture of 2009 boasted a cutting-edge, textural-music score that blended seamlessly with the film's sound effects. His co-nominee, Buck Sanders, has been with him since 1997, playing guitar, programming synthesizers and co-producing many of the scores. (The innovative "Hurt Locker" score featured Sanders' guitar combined with the Chinese stringed erhu.)

For "3:10 to Yuma" -- a period movie "but completely anachronistic," notes Beltrami -- he used only 19th-century instruments, including pump organ and tack piano, but digitally processed many of the sounds. Some observers likened his work to the classic Western scores of Ennio Morricone, one of Beltrami's musical heroes.

"It became my romanticized version of how Morricone treated sound," Beltrami says. "He took familiar sounds and twisted and used them in unconventional ways, whether the reverb from an amp, the ticking of a clock or using the human voice in ways that were new. That was inspiring to me.

"I am basically pushing that to the next level. In all the scores I've done since then, I am hyper-aware of the sound world and how it can be incorporated."

But while Beltrami is still fascinated by film ("there are a lot of things I have to say in this medium that I haven't said yet"), other musical projects wait in the wings. One is an opera he's planning with Jones, although he says it's too early to talk about the project.

First, though, Jones wants Beltrami for his next film as a director, another period piece, about the 19th-century Homestead Act in Nebraska.

Says Jones: "I'm already talking to him about it. We won't score the movie without him."

[Sebastian Schwittay]

2013 wird ja nun wohl ein irres Beltrami-Jahr, oder? Gerade bei IMDb nochmal seine Projekte durchgeschaut, und da sind für 2013 ja nicht "nur" DIE HARD 5, das MAD MAX-Remake, SNOWPIERCER, WARM BODIES, WORLD WAR Z und WOLVERINE gelistet, sondern nun auch das CARRIE-Remake. Nimmt ja bald schon Goldsmith'sche Dimensionen an.

[ToneDef]

So nen Arbeitseifer wollt ich mal bei Goldenthal sehen. Bei dem tut sich scheinbar auch 2013 nix in der Filmographie. Aber auf die Beltramis freue ich mich, sind vor allem alles interessante Projekte,wobei ich mich am meisten auf Mad Max freue.

[TheRealNeo]

2013 wird ja nun wohl ein irres Beltrami-Jahr, oder? Gerade bei IMDb nochmal seine Projekte durchgeschaut, und da sind für 2013 ja nicht "nur" DIE HARD 5, das MAD MAX-Remake, SNOWPIERCER, WARM BODIES, WORLD WAR Z und WOLVERINE gelistet, sondern nun auch das CARRIE-Remake. Nimmt ja bald schon Goldsmith'sche Dimensionen an.

Sollte Carrie nicht John Powell machen? Aber stimmt, der will ja jetzt erstmal länger pausieren, sonst hätte er ja wohl auch für Miller Mad Max gemacht schätze ich.

Das mit World War Z wusste ich auch noch nicht, aber ok. Na sind auf jedenfall interessante (Blockbuster)-Projekte dabei. Schön, wenn da mal frischer Wind reinkommt. Hoffentlich hat er da für alles auch genug Lust und Inspiration.

[Sebastian Schwittay]

Ich bin mir sicher, dass mindestens zwei von diesen Scores zu den Jahres-Highlights 2013 zählen werden. So viel trau ich Marco zu.

Meine Tipps, was am besten werden könnte: MAD MAX (wenn Marco bedeutende Vorbilder hat, legt er sich meist sehr ins Zeug) und DIE HARD 5 (die 4 war schon wirklich gut, und für Moore macht Beltrami selten was Langweiliges).

[ronin1975]

fand DIE HARD 4 "zu kalt" und bin gespannt ob er einfach dasselbe wieder hinklatscht oder sich diesmal mehr an Kamen orientiert oder Russland miteinbaut, zu Moore hat er sich bisher ja immer viel Mühe gegeben, würde mich wundern, wenn der Score nichts taugen wird.

Die anderen werden sicher auch alle ziemlich cool, MAD MAX und mit Sicherheit SNOWPIERCER könnten auch ziemlich ungewöhnlich werden... bin gespannt!

Super auf jeden Fall, dass keiner der Filme an RCP fiel...

[horner1980]

Interview mit Marco Beltrami und Wes Craven

[horner1980]

Marco Beltrami im Interview

 

 

 

A fan of both film and music, Marco Beltrami decided to incorporate both loves while attending the Yale School of Music.  An internship at USC with Oscar-winning composer Jerry Goldsmith started him on the illustrious path he has found himself traveling down.  His more popular scores include “Scream,” “I, Robot,” “Hellboy,” “The Flight of the Phoenix,” and “The Woman in Black.”  He earned Academy Award nominations for his scores for “3:10 to Yuma” and the Oscar winning Best Picture “The Hurt Locker.”  This year he scored no less then five films, including “The Sessions” and “Trouble with the Curve” and his music will be heard in 2013 in such anticipated films as “Carrie,” “World War Z,” “A Good Day to Die Hard” and “The Wolverine.”  Mr. Beltrami took a few rare moments away from his work to talk with Media Mikes about Jerry Goldsmith’s advice, his favorite film genre’s and his very busy 2013.

 

Mike Smith: What led to you pursue a career in composing?

Marco Beldrami: A moment of madness, I guess (laughs). Since I was very young I’ve always been into music. When I was younger I remember watching the early “Spaghetti” Westerns and being very influenced by both the films and the scores. How they related to each other. I went to school and I actually got a liberal arts degree in geology and then in urban planning but I later realized that music was what I wanted to do. I went to the Yale School of Music and that’s when I realized that some of the most exciting things that were happening in music were happening in film. Film music doesn’t really have any limits on it. It embraces the new technology as well as the classical orchestra. To me there is something powerful about putting music to image. I became hooked. I came out to California to do an internship with Jerry Goldsmith at USC and from that point on I was hooked. (NOTE: Readers, Jerry Goldsmith was one of the greatest film composers EVER. Popular scores of his include the original “Planet of the Apes,” “Star Trek: The Motion Picture” and the original version of “The Omen,” for which he won his only Academy Award).

 

MS: When you’re hired to score a film do you begin to draw ideas by reading the script or do you wait until you have actual footage to look at?
 

MB: To me the script is a horrible way to start working on a film’s score because it can be deceiving. You really need the image. A script can be treated in so many different ways and the music is all about nuance.

 

MS: You mentioned that your mentor was the great Jerry Goldsmith. What’s the best piece of advice he ever gave you?
 

MB: To be as economical as possible…to say as much as possible in as few notes as possible. To write as simply as possible for the orchestra. Coming from the background I came in there was a pride in being able to embrace simplicity, which is one of the most important things I learned from Jerry.

 

MS: Jerry Goldsmith won his only Oscar for his score for “The Omen.” How important of an assignment was it to you when you were picked to score the 2006 remake? (NOTE: Readers, Jerry Goldsmith was nominated 18 times for an Academy Award, not only for the scores mentioned above but others including “Chinatown,” “Poltergeist,” “Hoosiers” and “L.A. Confidential.” Next to John Williams he is my favorite composer).
 

MB: I found it to be a great honor and also quite daunting. Speaking of simplicity, Jerry’s score to “The Omen” pretty much consisted of three notes that everything branches off from. And I tried to keep that spirit of a minimalist state…not a minimalist style but a minimalist state…of writing in my score. I was very aware of his presence.

 

MS: You’ve done a few scores of film remakes – “Flight of the Phoenix,” “3:10 to Yuma” – as well as some film sequels. When working on those films do you feel an obligation to work in some of the original film’s score in your score as a nod to fans of the original film?
 

MB: Usually no, unless there’s a reason to in the picture. In the case of the new “Die Hard” I am trying to keep the flavor because I am very much aware of the fans of the films. It’s different then on a film like “3:10 to Yuma,” which just stands on its own and isn’t part of a franchise.

 

MS: Do you have a favorite film genre’ to compose to?
 

MB: Not really. The only thing I’m not real keen on, and that’s probably because I’m not excited about them, is romantic comedies. I don’t have much desire from them. They’re just not interesting to me musically.

 

MS: Clint Eastwood fancies himself a composer occasionally. Did he offer you any tips for your score on “Trouble With the Curve?”
 

MB: (laughs) No, he left that job up to the director.

 

MS: You have no less than six films being released in 2013. Do you often work on several different scores simultaneously?
 

MB: It sometimes seems that way. The film industry is in a constant state of flux so sometimes projects often overlap. It sometimes works out as a nice change of pace to go right from one film to another. Sometimes it can get a little hectic but that’s the nature of the business.

 

MS: The last film on your schedule is “The Wolverine.” Anything planned after that?
 

MB: I have a new Tommy Lee Jones picture called “The Homesman” which will begin filming this spring.

 

MS: Is there a fellow composer working today whose work you really enjoy?
 

MB: There are quite a few people. The most recent score I really liked a lot was Fernando Velazquez’s score for “The Impossible.” He did a great job

on that score.

 

MS: Has there ever been a film you would have liked to have written the score for? And have you ever just sat down and written music for a film that’s already been released –not an entire score but maybe a theme or two?

 

MB: That happens quite often. You see a film and you say, “oh shoot, I wish I had done that!”

 

Quelle: http://www.mediamikes.com/2013/01/composer-marco-beltrami-talks-about-recent-scores-and-working-with-jerry-goldsmith/

 

[horner1980]

Der gute Beltrami bekommt den Elmer Bernstein Award

Marco Beltrami to receive first Elmer Bernstein Award at 2nd International Film Music Festival, Cordoba

 

CÓRDOBA, Spain / February 27, 2013

 

In honor of the legendary film composer of such Hollywood classics as The Magnificent Seven, The Ten Commandments and To Kill a Mockingbird, the International Film Music Festival of Cordoba is excited to announce the institution of the Elmer Bernstein Award for Outstanding Contributions to the Art of Film Scoring. 

 

The inaugural Elmer Bernstein Award will be handed out during a spectacular gala concert event to prolific composer Marco Beltrami during the 2nd International Film Music Festival, Cordoba, June 23-30, 2013. The son of Elmer Bernstein, Peter Bernstein, will be present conducting the Malaga Philharmonic Orchestra in a Tribute to Elmer Bernstein before the festival presents a lengthy programme featuring the innovative and engaging music of Marco Beltrami.

 

Marco Beltrami, born 1966, is clearly one of the busiest A-list composers in Hollywood right now. Among his current and upcoming scores are A Good Day to Die Hard, Warm Bodies, The Sessions, The Wolverine and World War Z. Trained at USC under legendary composer Jerry Goldsmith (Alien, L.A. Confidential, The Mummy), Beltrami enjoyed over-night success with his score for Wes Craven’s Screamin 1996 (he scored all three sequels as well). Like many succesful film composers, Beltrami first made his mark in the horror genre (Mimic, The Faculty, The Watcher) but is now a highly sought-after composer in virtually every genre. Among his most important film scores are Live Free or Die Hard, I Robot, Terminator 3: Rise of the Machines, Hellboy and Knowing. Beltrami was nominated twice for the Academy Award, for 3:10 to Yuma and The Hurt Locker (shared with Buck Sanders).

 

Elmer Bernstein (1922-2004) was one the most influential and respected film composers in Hollywood for a period of five decades. He is credited with being one of the innovative composers of the “young” generation scoring films in the 1950s and 60s bringing in a clear jazz idiom into the traditional film music vocabulary. He scored hundreds of films and television series, always with his own distinct stylistic trademark, and won the Oscar for Thoroughly Modern Millie. Among his most popular scores are Ghostbusters, To Kill a Mockingbird, The Great Escape, Airplane!, Wild Wild West, Animal House, Trading Places, The Magnificient Seven, Bringing Out the Dead and An American Werewolf in London.

 

Peter Bernstein, born in 1951, is the son of legendary composer Elmer Bernstein. He is a prolific and versatile composer in his own right, with such film scores as Canadian Bacon, The Ewok Adventure and Ewoks: The Battle of Endor to his credit. 

 

On Friday, March 1, more details, including confirmed guests and events, will be announced by The 2nd International Film Music Festival of Cordoba on June 23-30, 2013.

Quelle: http://www.filmscoremonthly.com/board/posts.cfm?threadID=94809&forumID=1&archive=0

 

[Sebastian Schwittay]

Das wäre doch glatt mal ein Grund, mal wieder nach Córdoba zu fahren. Tolle Stadt, tolle Zeit, toller Komponist. Mein Sommerurlaub 2013 ist gebucht.

[horner1980]

Interview mit Beltrami

 

http://www.classicfm.com/composers/beltrami/news/world-war-z-marco-beltrami-horror/

[Souchak]

Via Varese Sarabande auf FB:

 

 

 

Yes, that is Marco Beltrami himself conducting a suite of I, Robot, Mimic, Knowing and Hellboy at the Varèse Sarabande 35th Anniversary Halloween Gala. Absolutely fantastic piece which was also a lot of fun for the choir. It was so exciting to have excerpts of four of Marco's scores presented this way, and with him conducting it himself for the very first time. Wonderful performance by the Golden State Pops Orchestra, also featuring a lovely solo by concertmaster Paul Henning. Marco Beltrami. Varèse Sarabande 35th Anniversary Halloween Gala. Warner Grand Theater. October 19, 2013. Photo by Christine Hals.

 

[Sebastian Schwittay]

Ein paar Fragen ans Plenum, vielleicht weiß das einer ganz genau:

 

Wurde für HALLOWEEN H20 wirklich nur prä-existentes Material von Beltrami verwendet (SCREAM, MIMIC), oder hat Beltrami auch eigene Musik für den Film komponiert?

 

Außerdem: auf wieviel Material beläuft sich Beltramis Additional-Music-Credit beim 1997er Remake von NIGHTWATCH ungefähr?

[Mephisto]

Beltrami hat aktiv an H20 mitgearbeitet und kleine Passagen geschrieben, die als Überleitungen zum bereits existierenden Material dienen. Auch von Ottman finden sich einige Minuten in dem Film

[horner1980]

Vielleicht hilft dir ja das Interview mit Marco Beltrami

 

Your music from Scream and Mimic was temp-tracked into Halloween - and in the end they decided to keep some of it, and brought you in to supplement some previous composition work done by fellow composer John Ottman. What were your feelings about this and what was your approach to the film?

I was called up to do this Halloween project, and was excited by it. I knew they had used Scream and Mimic in it, and it would be hard to make it match with another score. I don't know what the story was with John Ottman's score, but the movie tested well with the temp score, and my job was to come up there and make the Scream and Mimic score work with the music that had been composed and the original Halloween theme. I also had to make the Scream and Mimic stuff more to the nature of Halloween - take out some things that would identify it as Scream or Mimic music. That was my primary task. I feel bad for John, that he had his score removed from the movie - I don't know what to say, but it happens. I guess it wasn't what the producers were looking for - I was just up there doing my job.

Did you have a good time working on a Halloween movie?

I had a great time working on it - there were some great guys up there. Although there was a time pressure, we all worked together to get it done, and it went very smoothly. We had a lot of fun, and it worked really well. I was pretty surprised at how well we were able to blend the music. Of course, there won't be a CD coming out since it doesn't represent my music in any way - they can just go buy Scream and Mimic.

With the time pressure, did you record with an orchestra?

I sampled stuff from Scream and Mimic - it was kind of a hodgepodge thing. There were a few places where it would have been nice to have an orchestra, but it wasn't crucial to the project.

Quelle:http://www.soundtrack.net/content/article/?id=13

[ronin1975]

also naja...

 

FSM hatte mal nen komplettes Cue Sheet zu H20 und das analysiert... in dem Interview klingt das ja so als hätte man Ottmans Musik ganz rausgeworfen... das is alles wirklich ein wilder Zusammenschnitt von Ottmans und Marcos Musik... mit dem Halloween Thema hatte Marco auch nischte zu tun... überwiegend ist das schon noch Johns Musik, wenn auch nicht so wie er sie geschrieben hatte... mehr als 1-2 Tage hat da Marco sicher nicht dran gearbeitet.

 

Letztlich fragt man sich, warum man nicht gleich Marco für den Film angeheuert hatte (evtl. war ers auch echt Leid diese Filme zu scoren damals und hat erstmal nein gesagt), denn alle Miramax Horrorfilme damals hatten Scores von Marco, da hat mans Ottman sicher nicht leicht gemacht... toll finde ich seinen Score (bis auf das Halloween Arrangment und die Szene mit der Gittertür) auch nicht, aber naja, das hätt man ja vorher schon mal thematisieren können bei der Produktion...