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Klub Marco Beltrami [ŽP: 8 týdnů] (kategorie Hudba) moderuje Lokutus.
Oficiální stránky

fanouškovské stránky I
fanouškovské stránky II
Soundtracknet interview 8/9/1998
Interview - Holywood Reporter 20/4/2004
Interview - Scoring with genre films pt. 1
Interview - Scoring with genre films pt. 2
Interview - Scorelogue - Dracula 2000
An evening with Marco Beltrami on the phone
Interview -
OSTweb: tabulka Marca Beltramiho

Vybrané releasy:

V kinech:
- Ford v. Ferrari, James Mangold, USA 15. 11. 2019, trailer
- Underwater, William Eubank, USA 10. ledna 2020, trailer

Následující projekty:
- A Quiet Place: Part II, John Krasinski, USA 2020, trailer
- Fear Street, Leigh Janiak, USA 2020, trailer, oficiální stránky
- Fear Street 2, Leigh Janiak, USA 2020, trailer, oficiální stránky
- Monster Problems, Michael Matthews, USA 12. února 2021, trailer
- The Cowboys, Tommy Lee Jones, USA TBA, trailer, oficiální stránky

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If you are looking for something to watch, may I suggest Motherland Fort Salem from Disney's Freeform. Series Premiere is tonight 9 and 10 pm!

A joy working with series composer Brandon Roberts, creator Eliot Laurence and sound team to create the vocal sonic universe for Motherland. (The protagonists use vocal spells and songs to affect the world around them!) We recorded at Capital Records and Marco Beltrami's studio the vocal spell effects and special vocal music for the show (for example, there is a scene where my layered vocals are the voices of the characters joining together to call down rain while the sun is shining). Overall, a thoughtful creative team process defining how the spells and songs sound and work.

The brilliant Brandon wrote beautifully captivating music for the series, of course. It was a pleasure to sing (and throat sing, and sing like a wolf, ululate, and more) for him, including for his gorgeous opening main theme. We used and layered different voice colors to simulate various characters and vocal spells throughout the series. (Did I mention he is brilliant?)

Everyone who made this possible is stellar! A lot of love and dedication went into this. Please enjoy.

"Will Ferrell and Adam McKay are executive producers of this offbeat new fantasy series, set in an alternate version of contemporary America where witches successfully ended their persecution in the U.S. by making a deal with the government to use their supernatural powers for the country’s good. Taylor Hickson (“Deadly Class”), Jessica Sutton, Ashley Nicole Williams and Amalia Holm star as young recruits in basic training for this witches’ army in preparation for deployment to dangerous hot spots." - from Los Angeles Times.

-Úyanga Bold
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MOTHERLAND: FORT SALEM (TVS)Premiéra dneska večer

Music Composed by Brandon Roberts
Recorded and Mixed by Tyson Lozensky
at Pianella Studios, Malibu, CA
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Happy birthday to Marcus Trumpp!
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lokutus Lokutus watch?v=teBV0EoJJY8&t=232 12.2.2020 14:15  2059"Bojan Bazelli’s cinematography is excellent, as is the tone-capturing score by Marco Beltrami and Brandon Roberts"
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finální audio mix začíná dneska
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A při tý příležitosti je zrovna dneska ve 20:00 na COOLu
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World Soundtrack Awards 2019: Marco Beltrami - Ben-Hur

(aneb jak taky mají a můžou vypadat programy koncertů)
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UNDERWATER/ Marco Beltrami & Brandon Roberts/Walt Disney - digitalMarco Beltrami and Brandon Roberts jointly composed and conducted the music for UNDERWATER, the new horror film from director William Eubank (SIGNAL), in which a crew of aquatic researchers must get to safety after an earthquake devastates their submerged laboratory and releases mythic, monstrous sea predators from the ocean floor. Beltrami and Roberts have collaborated on numerous projects since 2013, including LOGAN, THE WOLVERINE, WARM BODIES, WORLD WAR Z, and National Geographic’s Oscar-winning documentary, FREE SOLO, which earned the composers with an Emmy Award for Outstanding Music Composition for a Documentary Series or Special.

“The fun challenge on this score was to balance the hybrid nature of the musical elements so they could convincingly exist in an electronic world,” the composers said. “Will [Eubank] is very influenced by electronic music and offered incredible encouragement to explore new ways of processing traditional orchestral elements to create this musical soundscape. Female vocals played a big part in this score, and we experimented with an endless array of unorthodox techniques to evoke the epic, tense and at times, very emotional elements of the film.”

Right from the start (“The Bends”), the score evokes a great sensation of claustrophobic confined space with wailing instruments and haunting voices, emanating an organic harmonic sonority along with sound clusters and sinewy strands of tonality shifting against one another. The score avoids atonal sound design in favor of fibrous instrumental, electronic, and vocal tone and texture patterns. “Voyage to the Bottom of the C” powerfully suggests the feeling of submergence as the crew descends toward the underwater lab. A two-note, drifting cadence becomes “Norah’s Theme” for Kristen Stewart’s character, which both resonates with the dark colorations of the tonality and reflects her captivity within the submerged facility; it will recur in “Norah’s Choice” in a much more redemptive, rising fashion.

The first sign of danger, when the underwater building has “Sprung a Leak,” prompts a suffocating pattern of near-percussive sound clusters that serves to elevate one’s heartbeat, and has an even more potent effect later in the film when the threat of the undersea creatures takes hold. These patterns reflect the swaying of the surf far above, reinforce the sensation of being far underwater, and maintain a potent growing sense of quiet unease that is far more worrisome than adopting slamming percussives and layered musical sound design. Those effects, however, do have their place for more potent scary moments, as in “What Was That,” where the characters are spooked by an unknown entity, or the screaming pulses and descending blocks of low sound terrorizes the cast in “Eat Me.” In the case of “Behemouth,” a musical construction rises up suddenly with a grunting, rising sound pattern. “Bikini Run,” on the other hand, proffers a near-heroic resonance as the crew makes a break for freedom, only to meet with the sonic blasts and dizzying swirls of approaching panic that curtail any sense of escape until the softer harbinger of “Rapid Ascent” seems to suggest a means of escape. “Seems to” being the operative phrase: when underwater it’s not over till it’s over, and “Under the C” both forms a motivic bookend with “Voyage to the Bottom…” as the story is resolved, but not without a cost.

UNDERWATER is a fine horror score with lots of sonic potency while largely avoiding jarring jump scares, allowing the breadth of its harmonic texture and phrasing to create an ongoing apprehension which is as delightful as it is haunting.

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World Soundtrack Awards 2019: Marco Beltrami - Snowpiercer
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World Soundtrack Awards 2019: Marco Beltrami - Gods of Egypt
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