Henry Jackman to Score Shane Black’s ‘The Predator’

Started by ace3g, Mar 30, 2018, 03:28:17 AM

Author
Henry Jackman to Score Shane Black’s ‘The Predator’ (Read 17,589 times)

Tetsujin

Tetsujin

#30
Quote from: ace3g on Aug 04, 2018, 08:23:57 PMThis is from Peter Oso Snell's IG page who is listed as Music Editor on IMDB for The Predator.


song title - "Upgrade vs Predator" :)

ace3g

If you are looking for scoring posts, I would vulture the social media accounts of these individuals.

QuoteMusic Department
Jonathan Beard    ...    orchestrator
Alex Belcher    ...    composer: additional music
Stephen Coleman    ...    lead orchestrator
Stephen Hilton    ...    composer: additional music
Benjamin Hoff    ...    assistant orchestrator
Henry Jackman    ...    composer: theme music
Dave Jordan    ...    music supervisor
Will Kaplan    ...    music editor
Alex Klingle    ...    trailer music
Alan Meyerson    ...    music scoring mixer
Peter Rotter    ...    orchestra contractor
Peter Oso Snell    ...    music editor
Trygge Toven    ...    music supervisor
Edward Trybek    ...    conductor / orchestrator
Marijke van Niekerk    ...    singer
Devaughn Watts    ...    assistant music editor
Booker White    ...    music preparation
Henri Wilkinson    ...    orchestrator

Danversity

Nothing new, I just found this interview with Jackman for Skull Island, and there's a part where he specifically addresses his care for Silvestri's Predator score and monster movies. Check it out:

Q: With this film setting up the inevitable meet between Kong and Godzilla coming up some time in the future – would you find it interesting to score that film if you were asked?

Henry Jackman: Oh, that would be a no-brainer! It makes me think of a bigger or more open question, which is that there's something about monsters which is a good thing for a film composer. You can go back to PREDATOR, and I hold Alan Silvestri's [score for] PREDATOR in great reverence.  People may not think of PREDATOR as one of the classiest films ever made, but I think it's a great film. What particularly elevates the film beyond what it otherwise would have been is Alan Silvestri's fantastic score, which uses a really cool octatonic scale and it's just really imaginative. There's something about an alien monster or an otherly creature that seems to bring out some very interesting music. It's because monsters allow this kind of grand scale, especially in 2017 where many films which are contemporary don't necessarily invite a symphonic grandeur. There's something about having monsters in a movie that gives permission for film composers to write genuinely symphonic music. I don't quite know why that is, but given that there's a real vogue often for very simple ostinatos and a lot of production and powerful, long lines, which isn't necessarily genuinely symphonic music. The great thing about once you've got a Godzilla on the screen or a King Kong, you're expected to hear music of a certain symphonic grandeur. It doesn't feel out of place in a way that you couldn't do in other types of films. So big monster movies are a haven and a compositional oasis to deliver influences that stretch back through the Silvestris and the Jerry Goldsmiths right back to the source, which is sort of late Strauss and big grand 19th Century Austro-Germanic symphonic music, which really can't find a home in most modern cinema. I mean, try doing that in THE REVENANT! It's completely inappropriate!  THE REVENANT is a beautiful score that has this fantastic minimalist approach to orchestral writing, which is absolutely beautiful and utterly suits it. The great advantage of seeing Godzilla hammering the crap out of King Kong, if that should ever happen, is that it's a similar thing. It would be expected to be feeling the full force of a symphony orchestra in its full glory and tradition. I don't know why monsters invite that, but they do – for whatever reason!

Here's the link to the full interview: https://musiquefantastique.com/something-about-monsters-henry-jackman-kong-skull-island/

Boy I'm REALLY looking forward to his take on The Predator!

Feeds On Minds

IMO Predator 2 had a way better score than the 1st, and was IMO one of the greatest scores in film history. 

SiL

Still Silvestri.

Danversity

Quote from: Feeds On Minds on Aug 22, 2018, 02:33:38 AM
IMO Predator 2 had a way better score than the 1st, and was IMO one of the greatest scores in film history.

Jackman has said before that the score for Predator 2 is his favorite and one of his main influences. It's in this video, near the end, I don't remember exactly what time:


HuDaFuK

Yeah, Silvestri's score for the second film was ace. It had everything that made the first one great but expanded it with a lot more variation.

pmaz11

Quote from: Danversity on Aug 22, 2018, 02:42:54 AM
Quote from: Feeds On Minds on Aug 22, 2018, 02:33:38 AM
IMO Predator 2 had a way better score than the 1st, and was IMO one of the greatest scores in film history.

Jackman has said before that the score for Predator 2 is his favorite and one of his main influences. It's in this video, near the end, I don't remember exactly what time:

https://www.youtube.com/watch?v=NdXqE-I7KwE


Nice find Danversity. It's right at 38:57 basically when Jackman talks Predator 2. I really dig that he acknowledged the film & is now getting to score The Predator! I had looked up his previous work when hearing he was the composer for the new film. But really cool he gave the nod to the film & really liked the music from Predator 2 so much. Especially with the main man Alan Silvestri hanging out there!

Also, Hans Zimmer even mentions how he thinks as far as soundtracks for action films go. He agrees with the score for Predator 2 being a favorite for him as well! Awesome documentary having so much different talent in one room there.

Danversity

Quote from: pmaz11 on Aug 22, 2018, 09:12:23 AM
Quote from: Danversity on Aug 22, 2018, 02:42:54 AM
Quote from: Feeds On Minds on Aug 22, 2018, 02:33:38 AM
IMO Predator 2 had a way better score than the 1st, and was IMO one of the greatest scores in film history.

Jackman has said before that the score for Predator 2 is his favorite and one of his main influences. It's in this video, near the end, I don't remember exactly what time:

https://www.youtube.com/watch?v=NdXqE-I7KwE


Nice find Danversity. It's right at 38:57 basically when Jackman talks Predator 2. I really dig that he acknowledged the film & is now getting to score The Predator! I had looked up his previous work when hearing he was the composer for the new film. But really cool he gave the nod to the film & really liked the music from Predator 2 so much. Especially with the main man Alan Silvestri hanging out there!
Also, Hans Zimmer even mentions how he thinks as far as soundtracks for action films go. He agrees with the score for Predator 2 being a favorite for him as well! Awesome documentary having so much different talent in one room there.

Thanks! I especially like to see how Silvestri reacts upon hearing this, such a nice man.

Wysps

Quote"There's something about having monsters in a movie that gives permission for film composers to write genuinely symphonic music. I don't quite know why that is, but given that there's a real vogue often for very simple ostinatos and a lot of production and powerful, long lines, which isn't necessarily genuinely symphonic music. The great thing about once you've got a Godzilla on the screen or a King Kong, you're expected to hear music of a certain symphonic grandeur. It doesn't feel out of place in a way that you couldn't do in other types of films. So big monster movies are a haven and a compositional oasis to deliver influences that stretch back through the Silvestris and the Jerry Goldsmiths right back to the source, which is sort of late Strauss and big grand 19th Century Austro-Germanic symphonic music, which really can't find a home in most modern cinema."

Preach.  Grand movie symbols require grand orchestrations to accompany their appearances on screen.  It's kind of unfortunate that the sounds of the Strausses, Schoenberg's, (maybe Wagners, Mahlers, and hell, some of the 20th century Russian composers while we're at it) have sort of been lost in cinema.  Event-type films I think try to incorporate some of the those same elements, but the temp scoring nonsense ends up making it just...ugh  :-\  It's nice to see a discussion like this taking place among some talented composers though.  I wish Silvestri was involved in this new film somehow, but I do appreciate Jackman's "appreciation" for that time period.  I don't expect anything opulent for this movie, but I do look forward to seeing what he does with it.  Great article and video  :)


Danversity

Goddamn it I need that score.

HuDaFuK

A slight tangent, but for anyone interested, Intrada have re-released their expanded Predator soundtrack CD. Pretty sure it sold out in a matter of hours first time around.

KiramidHead

Quote from: HuDaFuK on Aug 26, 2018, 07:09:34 PM
A slight tangent, but for anyone interested, Intrada have re-released their expanded Predator soundtrack CD. Pretty sure it sold out in a matter of hours first time around.

I'm waiting for them to rerelease the Conan score.

Huggs

Why does my mind always read it as Hugh Jackman instead of Henry Jackman when I see this thread?

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