We were honoured to speak with legendary horror film composer Harry Manfredini about his career in music and film; from creating the iconic score for Friday the 13th and it’s sequels to working on the recent video game.
“……one day in his kitchen, he said to me… I am going to make the scariest film ever, its called Friday the 13th, and you are going to score it…. And the rest I guess is history!”
Presented with English Subtitles.
This real-life documentary from director Rokhsareh Ghaemmaghami follows the every-day life of Afghan refugee Sonita Alizadeh; now living in Iran.
Coming soon from production company Epicleff Media and Director/Producer Matt Schrader is the much anticipated film ‘SCORE: A Film Music Documentary’.
So much attention is paid in the media to Actors & Directors; but very little notice is given to the production team behind the scenes that help bring the film together and take very little of the credit for the end result. One such group of un-sung heroes is Composers and this is who this documentary focuses on.
A good or bad score can make or break a film and in some genres is crucial to support the action and/or emotion of the piece. This is no simple task; the composer must shape their score around the director’s vision and work within the constantly evolving nature of a film in production. Continue reading
In 1992, Quentin Tarrentino exploded onto the independent cinema scene with his violent and ferocious debut film Reservoir Dogs which featured an ensemble cast including Harvey Keitel, Tim Roth, Chris Penn, Steve Buscemi, Lawrence Tierney, Michael Madsen & Tarrentino himself.
This film showed the beginnings of Tarrentino’s bold and unique film-making style that was further developed in later films such as Pulp Fiction and Kill Bill. He was unafraid of using on-screen violence as a tool to shock and thrill audiences. He also created believable and relatable characters through the use of everyday conversation and pop culture references of the time; you could almost imagine these violent criminals were someone you might know.
But one aspect that really sets this film aside is the use of music. Continue reading
Why do some of the songs I cherish most from my favourite bands end up as b-sides?
Misguided record execs? Pop pickers? Or perhaps I just delight in the songs that only a serious fan would know.
Comment with your favourite b-sides and why you think they should have been made a Single or put on an Album (or not).