Scoring Oppenheimer with Ludwig Göransson and Chris Fogel | Trailer
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- Опубліковано 20 лют 2024
- Full video available exclusively on www.mwtm.com/itt102
Oscar-winning composer, Ludwig Göransson, makes his Mix With The Masters debut alongside engineer and long-term collaborator, Chris Fogel. Together they dive deep into the composition, recording and mixing of this iconic soundtrack, with a focus on the groundbreaking musical cue “Can You Hear The Music”
Ludwig offers his personal connection to the story of Oppenheimer. Drawing inspiration from mathematics, he breaks down the composition process into its core molecular components. You will hear the original harmonic and timbral experiments that lit the fuse for the arrangement, and learn how the ideas were developed using metric modulation and innovative orchestration.
The composer then puts theory into practice. After drafting the musical outlines in Ableton and Cubase, he set out to capture a human interpretation of the piece. This was an immense challenge that pushed the musicians to their limit, as they tried and failed to navigate the piece’s complex tempo changes. Ludwig eventually reveals the breakthrough that enabled the orchestra to achieve the impossible. The result is a virtuosic score that honors the accomplishments of the film’s titular character.
With the composition and performances locked in place, Ludwig hands over to Chris Fogel to explore his unique engineering process. Chris walks through the tracking setup for each of the three ensembles recorded for the film. With reference to the original patch lists and recording chains, he describes how he captured each track with detail and precision.
Transitioning into his mixing workflow, the engineer breaks down his masterful approach to balance, panning, saturation and reverb. Inspired by Christopher Nolan’s world-building, he explores the boundaries of distortion and reamping to create a singular space for the score to inhabit. This imaginative approach to tone shaping was favored by the director in particular, who supported the scoring team every step of the way.
What an episode this was, true master of his craft and such an inspiring person.
Thank you MWTM for making this !
Fogel is one of those guys everyone over the age of 30 has heard but doesn't know it. He engineered one of the best selling albums of the 90s and when the good equipment at the studio broke down he used the backup budget gear Glen Ballard had. No one complained and the album went on to sell 10 million records and was the best selling record of the decade. Jagged Little Pill!!
I’m excited !!
oh hell yeah! HELL YEAHHH!
Thank you for this
Holy mother of god this is a gift thank you mwtm
Insane ❤❤
Yes! Play the synths into the room so they become part of the world!
🚀
Remarkable work!
Of course they're talking about this cue. 🙄 Because outside of this cue there's nothing to this score... The rest of the film is actually overscored, but with wallpaper music that does nothing to drive the narrative.
What are you talking about?
Really? The score feels very technically advanced outside of this piece as well. Take Trinity. The sound choices made, the interacting/out of sync rhythms, choosing a peaceful rendition of the opening score for the explosion rather than chaotic.. I actually felt this was some of the best composing I've ever heard in conjunction with film. I think Zimmer or Williams would have overscored it
@@aidanaktouf5933 That's my point though, outside of those two cues (which are the two most memorable parts of the film), there's nothing in the music other than endless droney stuff which does nothing to support the picture and ruins scenes which would have benefitted from having no music. Especially a lot of the dialogue scenes.
I'm not saying its bad music, so much as I am saying its bad film scoring.
You mention Zimmer and Williams. Zimmer would have done his usual thing, I doubt it would be that dissimilar only he would have been far less original and even more boring in sound choices. Williams however is perhaps one of the only composer who actually understands how the absence of music is as important as the presence of music. Thats why scores like Saving Private Ryan and Schindlers List and Catch Me If You Can are such great film scores because he knows when NOT to play.
What are you talking about the film has so many great tracks. “Meeting Kitty”, “Kitty Comes To Testify”, “Gravity Swallows Light”, “Groves” and more!
You just need to listen, there is a lot of nuance in sound design-dominated scores that is quite different to melody-driven scores (John Williams). If you REALLY listen to Zimmer’s work for instance, you’ll find a lot in there that isn’t apparent at first.
Oh and btw, it’s the director who ultimately decides where to use music & how much… and I’ll go ahead and say Oppenheimer, like all Nolan films, is perfectly scored. That doesn’t mean all movies should have this much music in them & that loud, but for Nolan’s aesthetic & storytelling sensibilities, it works perfectly… plus if you’ve watched his filmography you’d know he utilizes silence quite a lot (chase scene in TDK, Bane fight in TDKR, Trinity explosion … etc)
I think Trinity was wonderful too tbh