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Milan Records: Carter Burwell - The Tragedy of Macbeth

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Coen und Burwell - Das nächste Kapitel, auch wenn hier nur Joel Coen mit dabei ist.

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Carter Burwell is set to compose the original music for the upcoming film adaptation of William Shakespeare’s The Tragedy of Macbeth. The film marks Joel Coen’s first solo directorial effort and stars Denzel Washington in the title role, Frances McDormand as Lady Macbeth, as well as Brendan Gleeson, Corey Hawkins, Ralph Ineson, Moses Ingram and Harry Melling. The movie follows a Scottish lord who becomes convinced by a trio of witches that he is destined to become king of Scotland and goes to extreme and violent lengths to seize the crown. Coen also wrote the screenplay. Scott Rudin (The Social Network, No Country for Old Men, The Grand Budapest Hotel) is producing the A24 production. Burwell has previously scored most movies directed by Joel & Ethan Coen, including Fargo, True Grit, Blood Simple, The Big Lebowski, Raising Arizona and Burn After Reading. The Tragedy of Macbeth started principal photography in February and was shut down in March due to the pandemic. Production is expected to resume later this year and a release in 2021 is expected.

 

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vor einer Stunde schrieb Siddl:

Hat Joel Cohen nicht bei "O Brother, where art thou?" schon alleine Regie geführt?

Anscheinend bekam er da nur den Solo-Credit, aber Ethan Coen soll da laut imdb auch bei der Regie beteiligt gewesen sein. Was nun stimmt... keine Ahnung, aber wenn es um offizielle Sachen geht, dann war "Brother" die erste Solo-Regie, daher ist die Antwort auf deine Frage ein "Ja".

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Danke.. klingt nicht uninteressant. :) 

Was ich auf Carter Burwells Homepage auch immer sehr schätze, das sind seine Texte zum Score, wie hier für diesen:

Zitat

 

Carter's Notes

I admit that when Joel Coen first contacted me about this film, part of me was hoping for a chance to dive into Scottish music, which I love. But one of the first things he told me about the yet-to-be-shot film was that it did not really take pace in Scotland. And as soon as he sent me stills from the set I could see that this was the case. The film's location isn't so much a physical as a pscyhological place. Since the production was interruped by the COVID-19 pandemic, I ended up with a lot of time to sit with the unfinished film and try out different approaches.

One thing that's novel about this rendering of the story is the age of the actors. Joel has called it the "geriatric" or "menopausal" Macbeth. This is funny but not irrelevant. One of the enduring mysteries of the play is Lady Macbeth's reference to having suckled children when the couple has none. Played by younger actors, one can imagine them trying to establish a royal seat for yet-to-be-born-Macbeths. But as characters in their 60s their ambition is different, a last-chance effort to achieve what they can in the time they have left.

Another thing that struck me, when looking for thematic material, was the sincere affection between Lord and Lady Macbeth. I wanted music to play the marriage, the way they love and support one another (Joel and Fran call it the one good marriage in Shakespeare). But as I developed that theme it never seemed to stick to the film. I think Joel found it distracting, although it's a film I'd still like to see sometime. There's a bit of it left in "Leave The Rest To Me."

In the end there were two main themes that survived the long, almost relaxed, post-production that went on whlie we waited for a time when COVID protocols would allow us to put enough people in a room to finish the film.

One is a semitone movement between string chords, waves slowly coming in and going out, with different colors rising and falling, out of which comes a strange fiddle part. I call it a fiddle rather than a solo violin because I wanted the rough-hewn, timeless quality of folk music without actually referencing any specific tradition. While I wrote a lot of slides and turns on the page, the real secret was finding the right player who could go "off the page." I found the perfect player in Tim Fain.

The other major theme is one that takes over as the English forces, disguised as Birnam Wood, march on Dunsinane Castle. This is a rhythmic, forceful march played primarily by strings and percussion, but with occasional bursts of brass.

I should mention that, again, the pandemic had a large influence on the way the score was executed. Upon seeing the stunning black-gray-and-white photography I immediately heard strings - partly the influence of Bernard Herrmann's score to Psycho. But I also knew we could actually record strings because the players can wear masks while playing. So, for various reasons, some creative, some practical, the score relies heavily on strings, particularly the celli and basses whose pitches don't fight the omnipresent dialogue, which Joel and I came to often think of as the "melody" of the film.

 

 

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