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“All The President’s Men,” composer David Shire “Dressed to Kill,” composer Pino Donaggio He’s a crazy genius, who was backed by a producing team willing to spend the money to see the process through.”īelow is list of the scores used in “Homecoming,” by episode. “This ended up working because it was so organic to how Sam saw the show and shot the show. So would she recommend using pre-existing score to other creators? “No,” laughed Phillips. Like many, Phillips believes it’s not only a horrible way for a director to collaborate with a composer, but it’s also why so many scores in the last 15 years sound the same. Music supervisors and composers refer to this as “temp love,” in which creators fall in love with the temp music and ask composers to mimic it. Phillips agrees that using older scores as temp music would have been a mistake. I would always constantly compare it to the real thing, and just thought it was so critical to the kind of tightrope walk that we’re doing with tone in the show that I just thought, ‘Let’s just go for it.'” So I just took a moment and said, ‘We should embrace this.’ This is too critical for me to ask someone to be derivative, which is also not very fair to them, but also, I wouldn’t want that.
THE ANDROMEDA STRAIN MOVIE SOUNDTRACK TV
“It’s the heart and soul of a movie or TV show to me because it can be such an injection of tone, and I think tone is everything to a story. “Music is everything to me,” said Esmail. I want all pre-existing score.'”Įsmail recalled the moment he realized there was no turning back on his concept. “So they sat down and talked to Sam, I wasn’t there, and Sam was like, ‘Absolutely no. “I called one of the producers and I was like, ‘I really don’t know if we’re going to be able to do this,’ and it was mostly because I was trying to help the editors find stuff for that first scene between Heidi and Walter,” said Phillips. Phillips started to doubt the feasibility of using entirely pre-existing scores. Often, published scores don’t include quiet moments of “underscore,” but rather the showy moments of action, drama, and emotion. It should be pretty subtle, and the scores that we were using were really big scores… a lot of these things we found to put under those scenes felt very heavy handed.” It’s slightly romantic, it’s a little emotional, but you don’t want to push it too hard.
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“It’s a weird tone between the two of them,” Phillips said. Julia Roberts and Stephan James in “Homecoming.” The show ultimately arcs around their many-layered relationship.
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In the 10-episode series, there are longer, key scenes between Heidi (Julia Roberts), a counselor helping veterans adjust to everyday life, and Walter (Stephan James), a young soldier back from a tour in the Middle East. We’d have to combine a few scores, and there were times I had to tell them to replace some scores, because they were too expensive after they had carefully crafted it to work with their scenes.”Īs the first few episodes hit the editing room, Phillips and the editors started to see an even bigger creative problem. “On ‘Homecoming,’ the editors, and our one music editor, had to to carve it out of preexisting score written for a different movie. “Most editors are used to sending a scene to a composer, and having a composer hit those beats and write to those beats and emotional storylines to make it work,” said Phillips. However, Phillips’ bigger concern became the creative side. Phillips and NBC-Universal also had to work with unions to make sure dozens of session players would be paid for scores they played decades ago. Sometimes Phillips discovered dead ends, or scores that couldn’t be licensed. Pre-existing scores meant tremendous time and expense. (While there might be obvious appeal in a “Homecoming” soundtrack comprised of the best thriller scores from the 20th century, that was a licensing bridge too far.) Once that was determined, another journey began: locating the recording and digitizing it for the show. Still, Phillips took the job and it became an extensive research project to determine who owned the scores’ publishing rights, and then the actual recordings. The NBC-Universal clearance team and my team, no one had ever done this before.” “There was no way of estimating costs, at all, and the people we were licensing from wouldn’t even know.
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“People have licensed a score piece here or there, but there’s no real paper trail for older scores like there is for the other music we license,” said Phillips. Gene Hackman in “The Conversation” (1974)Įsmail broached the subject with music supervisor Maggie Phillips when she first interviewed for the job.