Steven Price snagged an Oscar Nomination for scoring #Gravity. Read what Price shared about composing the score: http://t.co/SgMsNLJaSF
— Rolling Stone (@RollingStone) January 16, 2014
An extended excerpt from the article:
One of the emotions that overruns the film is fear. What's the best way to capture that feeling?Fear is one of those really primal emotions which you don't want to have incredibly exciting modulations and complex harmonies and all that kind of stuff. The approach we took with it was that it was terror, and she was utterly overwhelmed by the situation and tried to use all the devices at disposal whether they're instrumental or sonic things we were working on. And the actual theater itself, the surround nature of the cinema, would really go with that absolutely overwhelming terror. A lot of what we did was working out where those moments were, almost where the tempo of Ryan's heartbeat was.
One of the emotions that overruns the film is fear. What's the best way to capture that feeling?Fear is one of those really primal emotions which you don't want to have incredibly exciting modulations and complex harmonies and all that kind of stuff. The approach we took with it was that it was terror, and she was utterly overwhelmed by the situation and tried to use all the devices at disposal whether they're instrumental or sonic things we were working on. And the actual theater itself, the surround nature of the cinema, would really go with that absolutely overwhelming terror. A lot of what we did was working out where those moments were, almost where the tempo of Ryan's heartbeat was.
Which scene worked best for you?There's a track called "Don't Let Go" which takes you from an intimate moment when Ryan and Matt are talking to then Ryan reveals why she's up there and what made her not want to be on Earth anymore. It goes all the way through the period where they try and get to the ISS and they have all sorts of problems. The tempo fluctuates according to their emotions and the style of writing changes considerably through that 11-minute process.
When you were writing the music, were you working with the script? Or visuals?With this one, because their process had been so long, they'd been going for over three years by the time I got involved. So there was a very advanced cut of the film – although a lot of the graphics in it, because there's so much CGI, were incomplete. I'd go from a shot that was very developed and it'd cut to a shot that was a few polygons and a face sort of floating by. But even from that stage, you really got a sense of what the film was becoming, and the way that it was choreographed and the feeling of floating in space. That was huge influence for how I wrote the music. You didn't want to do anything too abrupt because it clashed with the mood, and even though there were eventually violent things happening, they still happened with a kind of grace, and that was really influential to the instruments chosen and the style of writing that I used.
The action stuff was always the most challenging, because when you're usually doing an action score, you're competing with all these other sounds. With this, because there was no other sound in space, it kind of meant we could rethink what an action cue could be in this complex, so I kind of have to find ways to do it without doing the normal action cue tricks.
Read more: http://www.rollingstone.com/movies/news/secrets-of-the-gravity-soundtrack-20131009#ixzz2qZne77oH
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