Happy to see the release today of Matt’s and my score to:
THE AI DOC - OR HOW I BECAME AN APOCALOPTIMIST
(which I was disappointed to learn is not the longest movie title in history).
We are very happy with it and encourage everybody to go listen wherever you stream things from.
As always, a great pleasure to collaborate with the Archwizard and lifelong friend Matt Robertson.
Many thanks to the brilliant @simonlimusic for his invaluable support throughout.
To directors @charlietyrell and @daniel_roher for letting us loose on this beast.
To Editors Davis and Laurie @meansboro and @poliskweee , was a joy working with you.
To Jonathan @splitsurround and everyone at Skywalker. FAB mix. To @reuben_cohen1111 for a beautiful mastering job.
To the Producers: the incredible Daniel Kwan @dunkwun , Shane Boris @shane.boris , Diane @dibecka , @carolynejurriaans , @tedtremper ....
The team at NBC/Focus. Zach Grossman, Garrett McElver @mallratbrodie95 , @mikeknobloch and @carlorizzo ...
Serene @serenepianist for some insanely wonderful pianistic genius and Mike Stever for not minding that we made him play high notes and then pitched his trumpet down an octave.
Grateful that Focus have given our documentary a proper wide theatrical release - out this weekend. Go see it!
Now looking forward to not having to think about this anxiety-inducing subject for a while.
Next one’s a musical. About Death Row.
Bear McCreary moderated ASCAP’s panel “How SXSW Film Composers Are Redefining Cinema” Sunday. It celebrated films showcasing at the SXSW TV & Film Festival by ASCAP composers Paul Leonard-Morgan (Pretty Lethal), Marius de Vries (The AI Doc…) and Charles Humenry (Downbeat). Thanks for all who attended and took part in the discussion around the biggest film and music trends, and how they are reshaping the world of film composition in this new era of cinema.
Quite the best show I’ve experienced for many a year. @iamjonsi and Sigur Ros were sublime at the Orpheum, with masterful orchestrations and conducting by @robertamesmusic . Still buzzing.
This just dropped, taking me back to the last century and an unforgettable collaboration … The “original speed” in the title made me laugh! There was a sampling rate misunderstanding in mastering in London, I was in Australia, didn’t get the approval files in time to stop it going to radio at 48k instead of 44.1 - 🤯 Those were the days. ❤️DB❤️
