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A NOTE FROM THE COMPOSER | |||||||||||||||||
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I was really excited about scoring this. He (John Moore) told me that he was having trouble temping this film because he couldn't find any music in the film anthology that would work for it. He really made me feel he really wanted something different. He wanted a score with elements of Penderecki in it. I wasn't influenced directly by Penderecki - it was lingering more in the back of my head for a good part of the movie. It doesn't always work as a direct translation, but the theory of Penderecki works a lot better. The theory of Penderecki, if applied in other cues, in little gestures, here and there, works, but using this as a complete cue by itself just doesn't work. Petra Haden is really easy to work with, has a lot of great ideas, and is very musical. On this film it was a great collaboration because if the story takes place in the desert, it should have an Arabic type of Middle Eastern flair to the voice. I didn't want to do something with a traditional Persian singer because all of a sudden it can go into the realm of cliché. I thought it would be a lot fun to take someone who doesn't sing in this style and just pretend. That's what Petra did and it turned out well. There are no lyrics here, just some melodic notation and a lot of time she just went off and improvised creating her own articulations. She performed on quite a few cues including Elliot, Frank's Plea and Heat Dream. | |||||||||||||||||
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FLIGHT
OF THE PHOENIX: Recording
Sessions | |||||||||||||||||
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V A R E S E S A R A B A N D E (VSD-6628) | |||||||||||||||||
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