Tag Archives: Daniel Pemberton

Daniel Pemberton talks Steve Jobs (2015)

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Daniel Pemberton talks Steve Jobs (2015)

Steve Jobs (2015) marked the first collaboration between director Danny Boyle and composer Daniel Pemberton (their second team-up, Yesterday, comes out in June). In this behind-the-scenes video, the composer discusses how he divided the film’s score into three distinct parts, each one corresponding to one of the three acts of the film. The first act (he explains) is full of synthesizers to match the vibe of 1984. The second act (and the one I like best) is purely orchestral. Not just orchestral, it’s more of a miniature opera (complete with singers). And the third act is squarely placed in the digital medium, referencing how just about everything in our lives has gone digital, thanks in large part to the real Steve Jobs.

I’m fascinated at how Pemberton essentially created three different scores for this film, that’s not something you come across very often (in fact I’m hard pressed to name another example). Daniel Pemberton is very quickly becoming one of my favorite film composers and I for one am excited to learn more about him. I hope you enjoyed the video! Let me know what you think about Steve Jobs (and it’s score) in the comments below and have a great day!

See also:

Daniel Pemberton talks The Man from U.N.C.L.E (2015)

Daniel Pemberton talks King Arthur: Legend of the Sword (2017)

Film Composer Interviews A-H

Film Composer Interviews K-Z

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

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Daniel Pemberton talks King Arthur: Legend of the Sword (2017)

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Daniel Pemberton talks King Arthur: Legend of the Sword (2017)

While it’s no secret that Guy Ritchie’s retelling of the King Arthur legend was a colossal flop at the box office, that shouldn’t stop you from learning about what went into making the film’s soundtrack. King Arthur: Legend of the Sword marked the second collaboration between Guy Ritchie and Daniel Pemberton and just like he did with The Man from U.N.C.L.E, the composer went all out in putting the music together.

Daniel Pemberton employed a variety of musical instruments both ancient and modern. As he says in the video, he sought to make the score visceral and gritty, something that felt distinctly unpolished. If the excerpts heard in this video are any indication, I think the composer succeeded in that aspect. It’s a shame the film flopped so badly, it sounds like Pemberton’s score for the film is really good (and it’s not that uncommon to find a great score hiding in a terrible film). I find myself hoping that Ritchie and Pemberton will collaborate again (hopefully on The Man from U.N.C.L.E 2), though hopefully the resulting film will do much better than this one did.

Let me know what you think of this behind the scenes look at the music for King Arthur: Legend of the Sword in the comments below and have a great day!

See also:

Daniel Pemberton talks The Man from U.N.C.L.E (2015)

Daniel Pemberton talks Steve Jobs (2015)

Film Composer Interviews A-H

Film Composer Interviews K-Z

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

Don’t forget to like Film Music Central on Facebook

Daniel Pemberton talks The Man from U.N.C.L.E (2015)

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Daniel Pemberton talks The Man from U.N.C.L.E (2015)

I’m fairly certain that The Man from U.N.C.L.E served as my introduction to the film music of Daniel Pemberton. I first watched the film about three years ago and while the story took some time to grow on me, the score immediately grabbed my attention. Pemberton (I’ve since discovered), has this talent for creating quirky and memorable scores that stick in your mind. Such is the case with the score for The Man from U.N.C.L.E.

In the making of featurette which you can access above, Daniel explains that director Guy Ritchie requested a score in which every cue feels iconic. And on that point alone I think the composer succeeded, because none of the music in this film feels “throwaway,” it all feels very necessary. You’ll also learn that Pemberton employed a lot of unique instruments to create the film’s distinctive 1960s-like sound. While there are traditional orchestral elements in certain places, the lion’s share of the music comes from non-traditional instruments, which is really cool.

I hope watching this behind-the-scenes video gives you an even deeper appreciation of Daniel Pemberton’s score for what I consider a highly underrated film. Let me know what you think of the music for The Man from U.N.C.L.E in the comments below and have a great day!

See also:

Daniel Pemberton talks Steve Jobs (2015)

Daniel Pemberton talks King Arthur: Legend of the Sword (2017)

Film Composer Interviews A-H

Film Composer Interviews K-Z

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

Don’t forget to like Film Music Central on Facebook

Soundtrack Review: Molly’s Game (2017)

*the links in this post contain affiliate links and I will receive a small commission if you make a purchase after clicking on my link.

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Molly’s Game is a 2017 American crime drama film based on the memoir Molly’s Game: From Hollywood’s Elite to Wall Street’s Billionaire Boys Club, My High-Stakes Adventure in the World of Underground Poker by Molly Bloom. The movie stars Jessica Chastain as Molly Bloom, Idris Elba, Kevin Costner, Michael Cera and Brian D’Arcy, among others. The film follows Bloom as she comes under investigation from the FBI for running underground poker games for Hollywood celebrities, athletes, wealthy businessmen…and the Russian mob. The film was initially screened at the Toronto International Film Festival on September 8th, 2017 and was released to theaters on December 25th, 2017.

The score for Molly’s Game was written by English composer Daniel Pemberton. Pemberton is an Ivor Novello-winning and multiple Golden Globe and BAFTA Award-nominated composer who has been regularly cited as one of the most exciting and original new voices working in modern film scoring today. His bold writing and unusual and innovative arrangements on scores for movies have seen the soundtracks constantly singled out for critical acclaim. Pemberton’s mix of opera and electronics for Danny Boyle’s Steve Jobs (starring Michael Fassbender and Kate Winslet) not only garnered him a Golden Globe nomination for Best Original Score but so impressed writer Aaron Sorkin that Pemberton was invited to score his much anticipated directorial debut, the recently completed Molly’s Game. Pemberton’s recent scores also include: The Man From UNCLE (2015); King Arthur: Legend of the Sword (2017) and All the Money in the World (2017).

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From the moment I started listening to the score for Molly’s Game, it instantly sounded familiar to me, though it took some digging before I could pin down the reason why. As soon as I looked up Pemberton’s filmography my eyes jumped to The Man From UNCLE (a film I like every much) which I’d thought of repeatedly while listening to the score for Molly’s Game. It’s very obvious to my ears that these two scores come from the same composer, they have the same…frenetic (for lack of a better word) style with a modern feeling “edge” to the music.

Honestly I still have a hard time describing Daniel Pemberton’s film scores and that’s because they sound so different from what I normally listen to. I think it would be fair to say I’m a bit of a traditionalist when it comes to film music; I like full-bodied symphonic scores a la John Williams, Miklos Rozsa and especially Erich Wolfgang Korngold. And Pemberton’s music, so far as I can tell, is very non-traditional, non-symphonic and just…different. But that’s not a bad thing, not at all! Even though I have a hard time describing this new, modernist style that Pemberton is pushing, I can say for certain that I love what I’m hearing.

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Most of the tracks in this score have a similar sound to what I heard in The Man From UNCLE, which is that fast-paced style that ranges between extremely light synthetic rock and electronic dancing music. Some of my favorite tracks in this style included “House of Cards,” “The Russians,” and “Red & Black.” However some, like “Molly’s Dream” and “Scars” are slower, more melodic. I like “Molly’s Dream” in particular because it explicitly features the piano, a marked contrast from the bulk of the score.

If you’ve enjoyed Pemberton’s work up to this point, then his score for Molly’s Game will please you immensely. If you’re unfamiliar with Pemberton’s work, I still think you’ll enjoy it. It’s refreshing to listen to film scores that aren’t loaded to the gills with symphonic instruments and pounding drums. I can’t wait to see what Pemberton brings to the field in the future (his next project is listed as Ocean’s 8, the all-female remake of Ocean’s 11). I hope you enjoyed my thoughts on the score for Molly’s Game. If you’d like to discuss it further, let me know in the comments below 🙂

 

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