I read something by a music supervisor the other day who said, “It’s nice when you don’t notice the music in a film,” and I thought, What a prick. How have you found the transition to serving somebody else’s vision?īarrow: Quite difficult. Geoff, you come from a nontraditional film scoring background where you have creative autonomy over every aspect of your work. More recently: Solaris, You Were Never Really Here, Under the Skin. Salisbury: Jaws, Star Wars, Bernard Herrmann, Jerry Goldsmith. John Carpenter’s Assault on Precinct 13 was big for me-what he managed to convey emotionally, yet so simply, was incredible. What are some of your personal favorite scores?īarrow: Ben and I really bonded over Planet of the Apes. Sometimes it’s not even about the big musical moments there might be little moments where I know that I’m changing the audience’s temperature of a film-that you’ve twisted their melon. I’m a frustrated filmmaker as much as I am a composer, and I love being part of the collaborative filmmaking process. I absolutely love it.īen Salisbury: For me, as simple as it sounds, it’s the combination of music and picture.
I love the idea of using sound to explore things like misdirection, to make a person come across as being victimized while knowing that they are the worst person in the world. Geoff Barrow: It’s opened up a whole world for me that I never really thought existed. Pitchfork: What do you get creatively out of scoring films? Here, they talk about the art of film scoring. Their latest film, Julius Onah’s Luce, recently premiered at Sundance. After their tense, brooding work for Alex Garland’s 2014 thriller Ex-Machina won widespread acclaim, they partnered again on Garland’s Annihilation, their surreal tones adding new layers of disorientation to the sci-fi mystery. Instead of saccharine strings and bright horns, they favor dense, swampy atmospheres and pulsing electronics, creating soundscapes that unsettle and fascinate. In their film scores, composing duo Geoff Barrow (Portishead, Beak>) and Ben Salisbury shun many tropes of the form. “The Weaker the Executive, the More Notes You Get”: A Conversation With Geoff Barrow and Ben Salisbury
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So let’s raise the curtain by talking to two composers who are part of an innovative new vanguard that’s creating today’s most exciting movie music.
And sometimes, musicians who’ve found fame with their own songs can channel those same gifts into film work. Put another way: Whereas a soundtrack highlights moments of a movie, a score blankets the entire film. (We’re only looking at narrative films in this list we are not including documentaries.)Ī great original score is an art form in itself: While it serves the director’s vision, it can also stand alone as its own immersive listen. As you’ll see below, the original score is a beloved medium for musicians, who often have a favorite one they can point to immediately. We’re defining scores as original music composed for a film, with recurring motifs and almost always without vocals. This type of work is often the result of a collaboration between a composer and director, and created in tandem with a movie to steadily enhance the narrative onscreen. Now that we’ve looked at the best soundtracks in film, let’s turn to the best scores.
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