Make me an angel
That flies from Montgomery.
How the hell can a person
Go to work in the morning
Come home in the evening
And have nothing to say….
Hallelujah (Leonard Cohen)
Leonard Cohen reclaims the song Jeff Buckley made famous. Recorded at the O2 arena in July 2008.
No Line on the Hozizon (U2)
Really liking the title track from the new U2 album, No Line on the Horizon:
Joy
2009-02-13.jpg, originally uploaded by Josh Engroff.
Grandma Engroff sent some balloons to Zoe for Valentine’s day. Love the mixture of joy and wonder on her face.
While You Wait for the Others (Grizzly Bear)
New favorite song of the week. Love the crunchy guitar and reverb-ed voice:
Check out my TOY
DSC_0163.jpg, originally uploaded by Josh Engroff.
my daughter celebrates the usefulness of good toys on the beach in Tulum.
Live-blogging the TV and Film Music Conference in LA, Nov. 13 & 14
First session: Marc Streitenfeld, composer and collaborator with Ridley Scott
Talking about working with Scott on “A Good Year”, “American Gangster”, “Body of Lies”:
Q: what kind of research did you do for American Gangster?
A: i grew up with the late 60s music, question was, do i do a period score? And we decided not to, because the story seemed more universal, we weaved in elements. Focused the score on the storytelling, the drama, but we tried to use sounds that were historically accurate, part of the period. I used a drum machine from 1969.
Q: let’s contrast that with Body of Lies, which is set in the middle east.
A: used some source music, tried to bring the sense of middle eastern music to it, the strings especially. we experimented with cellists and violinists.
Q: you do a good job in Body of LIes avoiding cliches, like sitars. how did you decide to do that?
A: that’s a difficult thing to do. need balance between the place and avoiding cliches
Here’s a review of the soundtrack to Body of Lies
Streitenfeld: main character is a bin-landen type character, and the music is trying to suggest that.
american_gangster_score_in_film
Q: there is elegance in your music — is that what you’re going for?
A: i don’t want to be too overpowering with my music, suggestive.
Q: how do you work?
A: i play around a lot with instruments. i don’t like sounds out of a can. i create all the sounds myself, trying to figure out a sound style. if i get stuck, i pick up an instrument and bang around. i try to understand instruments i can’t p;lay even, helps me develop knowledge and get inspired.
Question from audience: do you start with rhythm?
A: sometimes, other times i write melody first. depends on the project
