rolling stone almost impossible rock quiz

#Rolling stone almost impossible rock quiz series#

“I really enjoy taking sounds and shoving them through late ’70s analog equipment, overdriving and distorting them. “I spent ages in engineering mode,” Jackman says. But a large part of the score was already recorded. In April 2022, he flew to London to record the orchestral parts of the score, with an 80-piece ensemble, mostly strings and brass (recorded separately because of COVID restrictions). “Almost all the content, a huge proportion of cues in the score, have its origin somewhere in the suite,” he notes. But most of the key compositional work was done. With the approval of the Russos, Jackman went to work on scene-specific music. Luckily, Joe Russo loved it, texting Jackman with live reactions as he played it through for the first time. I just wanted to hide,” he admits, apologizing in case they felt it wasn’t appropriate for the film. Nine months later, as the Russos were editing, Jackman finally sent his 17-minute masterpiece to his directors.

#Rolling stone almost impossible rock quiz series#

I started messing around with some jazzy chords, a new idea in the brass,” he says, citing David Shire’s classic “The Taking of Pelham 1-2-3” score, “like an atonal kind of jazz” that became the signature for Hansen, the sadistic psychopath who pursues Six across the globe.Įventually he added a driving bass line and a series of “big, Mancini-esque long brass statements,” referring to Henry Mancini, whose ’50s and ’60s scores included such detective and caper films as “Peter Gunn,” “Charade” and the “Pink Panther” series. “Every week this suite got longer and longer. At no point was I even thinking about Joe or Anthony (although) every now and then I would think, I really ought to play just a couple of bars of this for them.”īut he didn’t. It almost became an artistic endeavor in itself. “I chipped away at this piece a bit like (producer) Trevor Horn used to chip away at an Art of Noise album for months and months. He came up with an offbeat percussion sound, invoked the classic “Mission: Impossible” 5/4 rhythm, and “went on this massive mission designing percussion sounds.” The highly produced music incorporates tick-tock figures, eerie noise and minor chords that are “very espionage,” he says. Jackman read the script and couldn’t stop adding material to that opening theme. That piece opens the 17-minute “Gray Man” suite on the soundtrack album, the creation of which occupied those nine months of “time off” and now serves as an overture of all of the film’s themes. “I used a reverse reverb effect and fiddled around a bit,” he says, until he had a two-minute piano-with-effects demo that might be useful for emotional scenes. So in his non-dad hours, Jackman went into his home studio and began putting down musical ideas. “I thought, well, I can’t just sit here dealing with my son peeing on me and screaming all day long, so I’ll quickly knock out this piano idea.” “We had a discussion about Six’s internal trauma, and how he’s got a bit of a ‘ghost in the machine’ issue that won’t go away,” Jackman tells Variety.