On July 11, 2014, it was officially announced that Bates and Richard had composed the score for the film. Director Chad Stahelski and producer Dave Leitch approached Bates to write the score for John Wick after filming had completed, and it was then that Bates had the thought of working with Richard, explaining, "Joel came to the table with great ideas and a sensibility that was exactly as I felt we should approach the music." Having been friends for some time, as well as having and sharing common interests and taste in music, both Bates and Richard have wanted to work together musically for some period of time. Richard, with songs performed by Ciscandra Nostalghia, The Candy Shop Boys, and M86 & Susie Q, and features violin player Scott Tixier. It contains twenty-seven tracks from the original film score written and composed by Tyler Bates and Joel J. We love the movie, and we are also excited that A24 is releasing our score in a wicked vinyl package.John Wick: Original Motion Picture Soundtrack is the original soundtrack album to the 2014 film John Wick starring Keanu Reeves, Michael Nyqvist, Alfie Allen, Adrianne Palicki and Willem Dafoe. It wasn’t long before the conceptual body of work was sketched out, but in all, we developed the music for many months before the score was completed. I called him and floated the idea of Chelsea and I working together on the score. Just after Chelsea, Ben and I collaborated on the song “Diana” for the Dark Nights Death Metal soundtrack, Ti sent me the X script. I had a lot of fun watching it, and felt a lot of gratitude towards Tyler and Ti for having me be part of this project.īates: The timing of this project was serendipitous. It felt strange to see and hear the final cut for the first time alongside an entire audience, but it was also interesting to experience their reactions to things I knew were coming. Wolfe: It was so special for me, as it was my first time being involved in a film score. Lastly, how did it feel to see the final product come together on the big screen? That sort of thing was useful for working on X. as textural and rhythmic elements in my own songs. In the past I’ve used screaming, breathing, etc. Wolfe: I’ve always thought of my voice as my main instrument, even though I play guitar in my band as well. This approach keeps the energy of the creative process flowing, because we as composers were given the opportunity to explore our own characteristics in the creation of this score specifically.Ĭhelsea, did you find that any of your previous releases inspired the work for X? In this instance, Ti related specifically to Chelsea’s voice, and also to aspects of my past film work and guitar-playing. Ti tends to offer concise direction based on the unique talents and characteristics of his collaborators. How hands-on was Ti West in conceptualizing the score?īates: Ti is always hands-on with every aspect of his films, and this is no different. I wanted to provide a lot of vocal source material to build pieces around. For me, it was about tapping into some really intrinsic and guttural vocalizations that weren’t always necessarily singing, but just capturing a nostalgia or a deep-rooted feeling that a certain character might be having. Wolfe: My voice became my main contribution to the score. Chelsea, how did you have to modify your songwriting creative process to adapt to a score? Did you find that there was a learning curve?
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