21 Songs, 53 Minutes

EDITORS’ NOTES

John Ottman’s unusual double career as film composer and film editor can get complicated if two productions overlap. Ottman’s editorial work on X-Men: Days of Future Past impinged on his scoring work for this hit airborne thriller by Catalan director Jaume Collet-Serra (who also used the composer on House of Wax, Orphan and Unknown). So Ottman turned to Edwin Wendler (a young Austrian-born composer, arranger, technician, and former Vienna Choir Boy) to develop his musical framework. To make their work seamless, Wendler says, “John developed the principal themes and sound palette in the initial stages. It was my job then to adapt and develop that musical vocabulary while following John’s directions and addressing his detailed notes.” Edwin says Ottman “made it very clear from the beginning that any action-music clichés were to be avoided ... This meant some programming and manipulation of sounds. Electronics play an important part, although many orchestral elements were recorded for this score [by the Slovak National Symphony Orchestra].”

EDITORS’ NOTES

John Ottman’s unusual double career as film composer and film editor can get complicated if two productions overlap. Ottman’s editorial work on X-Men: Days of Future Past impinged on his scoring work for this hit airborne thriller by Catalan director Jaume Collet-Serra (who also used the composer on House of Wax, Orphan and Unknown). So Ottman turned to Edwin Wendler (a young Austrian-born composer, arranger, technician, and former Vienna Choir Boy) to develop his musical framework. To make their work seamless, Wendler says, “John developed the principal themes and sound palette in the initial stages. It was my job then to adapt and develop that musical vocabulary while following John’s directions and addressing his detailed notes.” Edwin says Ottman “made it very clear from the beginning that any action-music clichés were to be avoided ... This meant some programming and manipulation of sounds. Electronics play an important part, although many orchestral elements were recorded for this score [by the Slovak National Symphony Orchestra].”

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