![]() Here, they talk about the art of film scoring.ĥ0. ![]() Their latest film, Julius Onah’s Luce, recently premiered at Sundance. After their tense, brooding work for Alex Garland’s 2014 thriller Ex-Machina won widespread acclaim, they partnered again on Garland’s Annihilation, their surreal tones adding new layers of disorientation to the sci-fi mystery. Instead of saccharine strings and bright horns, they favor dense, swampy atmospheres and pulsing electronics, creating soundscapes that unsettle and fascinate. In their film scores, composing duo Geoff Barrow (Portishead, Beak>) and Ben Salisbury shun many tropes of the form. “The Weaker the Executive, the More Notes You Get”: A Conversation With Geoff Barrow and Ben Salisbury So let’s raise the curtain by talking to two composers who are part of an innovative new vanguard that’s creating today’s most exciting movie music. A great original score is an art form in itself: While it serves the director’s vision, it can also stand alone as its own immersive listen. As you’ll see below, the original score is a beloved medium for musicians, who often have a favorite one they can point to immediately. And sometimes, musicians who’ve found fame with their own songs can channel those same gifts into film work. ![]()
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