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Hollywood composers on making movies sing with blockbuster scores
SAN DIEGO, July 20, 2018 (BSS/AFP) – Award-winning composers lifted the
lid on the sounds behind some of Hollywood’s biggest blockbusters and hit TV
shows as Comic-Con kicked off day one on Thursday.
The “Sounds of Mayhem: Music and Audio in Action Films, TV, and Video
Games” panel looked at the work of the experts who set the tone and control
the sonic worlds in each of their films and television shows.
Among the movies and TV under discussion was anti-superhero sequel
“Deadpool 2,” “Cobra Kai,” a TV spin-off from the iconic movie franchise, and
this year’s breakout horror hit “A Quiet Place” — which is silent for much
of its run time.
“For ‘A Quiet Place,’ survival depends on characters being quiet,” said
Erik Aadahl, describing the movie’s terrifying alien killers, who are blind
and hunt by sound.
“There is a scene where the daughter is in the corn field and we used sonic
envelopes for the point of view of the creatures and what they hear.”
“Cobra Kai” composer Zach Robinson, a master of guitar shredding stadium
rock techniques, described diving into the 1980s universe in which the show
takes place as “a blast.”
“We were able to work with the iconic ‘Karate Kid’ universe and there was a
great opportunity to collaborate with the creators,” he added.
“We actually got to score 80s montages that were not meant to be cheesy and
made sense for the story universe.”
“Cobra Kai,” which premiered in May on YouTube Red, is a continuation of
the “Karate Kid” story, set 34 years after the original film.
It follows the reopening of the Cobra Kai karate dojo by Johnny Lawrence
and the rekindling of his old rivalry with Daniel LaRusso, with Ralph Macchio
and William Zabka reprising their roles from the films.
“‘Cobra Kai’ is just pure, unfiltered fun. For this show, we got to go with
our deepest impulses when setting the tone and we got to have a ton of fun
doing it,” said Leo Birenberg, Robinson’s co-composer.
“Deadpool 2” composer Mark Stoeckinger discussed the tech and tools he used
to create the soundscape of the sequel as well as techniques honed in his
other projects.
“You can make an instrument out of anything. As far as making a sound,
sometimes it’s found and realized. A lot of it is a sense of discovery,” he
said.
BSS/AFP/MRI/0843 hrs