Exciting, aggressive Bear McCreary score to latest entry in Blumhouse horror franchise! Following success of 2017 horror/comedy Happy Death Day, Universal Pictures presents sequel, picking up where first installment leaves off. Bigger action and thrills abound as newest tale expands into territory that includes science fiction and heist activities alongside familiar ingredients that made the initial tale so much fun. Christopher Landon writes, directs. Jason Blum again produces. Back for more thrills are stars Jessica Rote, Israel Broussard. Also back is prolific composer Bear McCreary, expanding upon numerous ideas from his first score while ushering in new ideas to meet expanding storylines. Each movie’s success stems from vigorous meld of slasher genre tropes with refreshing elements of humor and deja vu. McCreary positions himself with an emphasis towards the thrills, in this new score adding sci-fi elements to up the ante. His expanded orchestral material gets plenty of front-and-center attention in the film. Low brass receive particularly bright spotlights! Other strong ideas include glissandi, pizzicato effects and harmonics in the violins. McCreary opens with buoyant ostinato with brief wisps of lydian harmony amongst the liveliness. Two minutes later the suspense and bolder brass elements make an appearance. McCreary generates increased density to this cool opening sequence (“Two Tuesdays”), adds striking tri-tone motif for sci-fi color and gallops to a forceful finish. And all this in just his first five minute opener! The subsequent “Stalker at the Gym” launches the thrills with aggressive full orchestral activity and a rich chordal sequence in the major towards the climax. In just under eight minutes, McCreary has established a wide array of new musical devices while remaining cohesive with his first score. Not an easy feat! Other highlights: Deliberate rhythmic ostinato of “Monday the 18th Again”, with its striking forays into the tri-tone harmonic vernacular amidst the pounding thrills and slashing excitement of “Back to the Hospital”, combining lively rhythm with dynamic intensity in equal doses. Respite from action does poke through with unusually dramatic, emotional “Birthday Candles”, which progresses from sparse, tender-sad solo piano to powerful, weighted emotional melody in full orchestra. Rich cue! Still, thrills remain keynote with strongest spotlight shining on lengthy “The Final Confrontation”, with incredible bursts of ferocious trombone and French horn activity punching through chaotic string writing. Array of changing rhythms and intense, unrelenting forward motion leading to vivid climax is an arresting musical tour-de-force! “DARPA” winds score proper with one final, fierce coda. “End Credits” plays as knock-out summary of primary action material with beautiful foray into haunting “Tree” theme before bravura finish. Exhilarating score! Recorded in Vienna, Austria. Orchestrations by Sean Barrett, Benjamin Hoff, Jamie Thierman. Bear McCreary composes, Johannes Vogel conducts Synchron Stage Orchestra.
発売日：2019.6.18
トラックリスト
?1. Les plus belles annees d'une vie ?2. Mon amour ?3. Le bal du moulin de la Galette ?4. Plus fort que nous ?5. Mon amour (Version piano) ?6. Le bal du moulin de la Galette (Variation) ?7. Les plus belles annees d'une vie ?8. Le bal du moulin de la Galette (Variation) (Version piano) ?9. Les plus belles annees d'une vie ?10. Mon amour (Instrumental) ?11. Les plus belles annees d'une vie (Version piano) ?12. Les plus belles annees d'une vie (Instrumental)
故フランシス・レイの音楽と「ダバダバダ…」のスキャットと共に、甦る『男と女』から53年。シリーズ第３弾のオリジナル・サウンドトラック。
トラックリストジャン＝ルイは記憶を失いつつある。彼の息子は、父が追い求めている女性を探すことを決めた―。 2019年、カンヌ国際映画祭正式出品。2019年6月開催の＜フランス映画祭2019 横浜＞にて上映。
キャスト：アヌーク・エーメ、ジャン＝ルイ・トランティニャン、監督・脚本：クロード・ルルーシュ。
Exciting, aggressive Bear McCreary score to latest entry in Blumhouse horror franchise! Following success of 2017 horror/comedy Happy Death Day, Universal Pictures presents sequel, picking up where first installment leaves off. Bigger action and thrills abound as newest tale expands into territory that includes science fiction and heist activities alongside familiar ingredients that made the initial tale so much fun. Christopher Landon writes, directs. Jason Blum again produces. Back for more thrills are stars Jessica Rote, Israel Broussard. Also back is prolific composer Bear McCreary, expanding upon numerous ideas from his first score while ushering in new ideas to meet expanding storylines. Each movie’s success stems from vigorous meld of slasher genre tropes with refreshing elements of humor and deja vu. McCreary positions himself with an emphasis towards the thrills, in this new score adding sci-fi elements to up the ante. His expanded orchestral material gets plenty of front-and-center attention in the film. Low brass receive particularly bright spotlights! Other strong ideas include glissandi, pizzicato effects and harmonics in the violins. McCreary opens with buoyant ostinato with brief wisps of lydian harmony amongst the liveliness. Two minutes later the suspense and bolder brass elements make an appearance. McCreary generates increased density to this cool opening sequence (“Two Tuesdays”), adds striking tri-tone motif for sci-fi color and gallops to a forceful finish. And all this in just his first five minute opener! The subsequent “Stalker at the Gym” launches the thrills with aggressive full orchestral activity and a rich chordal sequence in the major towards the climax. In just under eight minutes, McCreary has established a wide array of new musical devices while remaining cohesive with his first score. Not an easy feat! Other highlights: Deliberate rhythmic ostinato of “Monday the 18th Again”, with its striking forays into the tri-tone harmonic vernacular amidst the pounding thrills and slashing excitement of “Back to the Hospital”, combining lively rhythm with dynamic intensity in equal doses. Respite from action does poke through with unusually dramatic, emotional “Birthday Candles”, which progresses from sparse, tender-sad solo piano to powerful, weighted emotional melody in full orchestra. Rich cue! Still, thrills remain keynote with strongest spotlight shining on lengthy “The Final Confrontation”, with incredible bursts of ferocious trombone and French horn activity punching through chaotic string writing. Array of changing rhythms and intense, unrelenting forward motion leading to vivid climax is an arresting musical tour-de-force! “DARPA” winds score proper with one final, fierce coda. “End Credits” plays as knock-out summary of primary action material with beautiful foray into haunting “Tree” theme before bravura finish. Exhilarating score! Recorded in Vienna, Austria. Orchestrations by Sean Barrett, Benjamin Hoff, Jamie Thierman. Bear McCreary composes, Johannes Vogel conducts Synchron Stage Orchestra.
発売日：2019.6.18
?1. Les plus belles annees d'une vie
?2. Mon amour
?3. Le bal du moulin de la Galette
?4. Plus fort que nous
?5. Mon amour (Version piano)
?6. Le bal du moulin de la Galette (Variation)
?7. Les plus belles annees d'une vie
?8. Le bal du moulin de la Galette (Variation) (Version piano)
?9. Les plus belles annees d'une vie
?10. Mon amour (Instrumental)
?11. Les plus belles annees d'une vie (Version piano)
?12. Les plus belles annees d'une vie (Instrumental)