![]() “It was really about trying to create a score that was modern and represented Joseph relative to the times he was living in. Bowers quickly realized that Bologne had a bold confidence that he wanted the score to reflect. “I read that before I came on to this project, then when I started work on this I really got to dive into his work and know it on an intimate level,” Bowers said. For Bowers, an article describing Bologne as “the black Mozart” first alerted him to the composer’s significance. ![]() “I remember when I first heard of him because it was a kind of revelation to me that he existed and wrote what he did,” Abels told IndieWire. Kris Bowers, who IndieWire described as “versatile and timeless” in an “Influencer” profile, handled scoring duties, creating off-camera music complementary Bologne’s compositions while adding a new dimension to the film’s soundtrack.īoth Abels and Bowers were excited by the opportunity to take a deep dive into Bologne’s life and work. Michael Abels, whose score for “ Nope” was chosen by IndieWire as one of the best of last year, was responsible for all of the on-screen performances, which meant that he created the orchestrations for Bologne’s pre-existing music. ![]() ![]() Choreographer Jamal Sims Helps the Pink Ladies Rule the School on ‘Rise of the Pink Ladies’Īppropriately, given Bologne’s historical importance, director Stephen Williams called upon two of America’s finest film composers to interpret his music and score his story. ![]()
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