20 Songs, 49 Minutes

EDITORS’ NOTES

Composer Marco Beltrami says he originally became a fan of Lois Lowry’s original children’s novel The Giver when “both my kids had to read it in school.” His first collaboration with director Phillip Noyce was unique in several ways: “He was editing in New York and I was in L.A., so most of our communication was via Skype,” Marco says of the logistics. More unusual was Beltrami writing a few themes based only on a script reading, which he calls “a horrible way to do things! So much is dependent on the visual cues and the way it’s shot or the way a scene is portrayed and acted. It makes a huge difference in the way you score a scene.” Yet Marco was extremely gratified to find that having sent “three thematic ideas, they actually used two of them in the picture. [Noyce] actually used [the theme] music for Jeff Bridges to learn on piano, and they filmed the movie to the music. So, in terms of deciding what type of music, some of that work was done ahead of time by us before shooting the film.”

EDITORS’ NOTES

Composer Marco Beltrami says he originally became a fan of Lois Lowry’s original children’s novel The Giver when “both my kids had to read it in school.” His first collaboration with director Phillip Noyce was unique in several ways: “He was editing in New York and I was in L.A., so most of our communication was via Skype,” Marco says of the logistics. More unusual was Beltrami writing a few themes based only on a script reading, which he calls “a horrible way to do things! So much is dependent on the visual cues and the way it’s shot or the way a scene is portrayed and acted. It makes a huge difference in the way you score a scene.” Yet Marco was extremely gratified to find that having sent “three thematic ideas, they actually used two of them in the picture. [Noyce] actually used [the theme] music for Jeff Bridges to learn on piano, and they filmed the movie to the music. So, in terms of deciding what type of music, some of that work was done ahead of time by us before shooting the film.”

TITLE TIME
3:07
1:33
2:05
1:48
1:30
0:58
0:56
2:30
2:56
2:21
3:20
2:27
2:51
2:39
2:10
2:18
3:32
1:46
4:32
3:49

About Marco Beltrami

Marco Beltrami is an American composer best known for his stirring orchestral horror, action, and science fiction film scores, which include multiple collaborations with director/producer Wes Craven. A Long Island, New York native, Beltrami attended Brown University and the Yale School of Music, eventually studying with Luigi Nono in Italy and Jerry Goldsmith in Los Angeles. He got his professional start in film and television in 1994, with his breakthrough coming on the 1996 Wes Craven blockbuster Scream. He went on to compose music for the Guillermo de Toro film Mimic (1997), Scream 2, and The Faculty (1998), The Crow: Salvation and Scream 3 (2000), Joy Ride (2001), Resident Evil (2002), Terminator 3: Rise of the Machines (2003), and Hellboy (2004) (again with del Toro), among other regular work such as on TV's The Practice. In 2007, he earned his first Academy Award nomination for the western remake 3:10 to Yuma, with another nomination the following year for Best Picture winner The Hurt Locker. The next decade brought continued success in Hollywood, including Scream 4 (2011), The Woman in Black (2012), A Good Day to Die Hard (2013), The Giver (2014), Fantastic Four (with Philip Glass) and Hitman: Agent 47 (2015), Ben-Hur (2016), and Logan (2017). ~ Marcy Donelson

  • ORIGIN
    Long Island, NY
  • GENRE
    Soundtrack
  • BORN
    October 7, 1966

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