The reason I find Frizzell – as well as Frederik Wiedmann – so damn fascinating is the way he keeps pushing the envelope on the way sounds can be digitally re-shaped within the realm of an orchestra. It’s still less is more, but one suspects a lot more is going on; it’s just the way sounds are used with precision and refinement so as not to take away from a score’s scope or style (which in the case of Legion, is a theological thriller).
Haven’t seen the film, just the trailer (which debuted months ago in theatres), but I would like to see if director/co-writer Scott Stewart explains why the film’s angry people have stretchee-bendee maws.
Paul Bettany looks like a pinhead from Hell in this shot, doesn’t he? Don’t you dare complain about his Fudgesicles.
Also, due to the Pandorum-centric blog, there wasn’t room to properly address the latest interview at KQEK.com, which is with composer Winifred Phillips, a fine composer best-known for scoring high-profile videogames like The Da Vinci Code, Speed Racer, Shrek the Third, and Charlie and the Chocolate Factory.
Her latest score releases include SporeHero and SimAnimals, and in our Q&A she discusses her work in the videogame genre, which clearly embraces innovation and complex writing.
Coming shortly: a review of the flawed/frustrating thing that is Surrogates, as well as Richard Marvin’s excellent score.
- MRH
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