McDowell: He has a unique way of scoring without an orchestral arrangement. He’s done a bunch of really cool things, but in particular the Take Shelter soundtrack is something we really loved a whole lot. Hull: I think our number one favorite-at least the guy that we were listening to and studying his work- David Wingo. I’d walk through school just singing that in my head thinking I was cool. I would say the first time I heard Indiana Jones. McDowell: I’m gonna go with a “life” moment. In The Life Aquatic when they finally see that fish they’d been looking for forever and that Sigur Rós bridge starts playing. Robert McDowell: I love that that’s where your brain goes. Like on the yacht… “ If everything could ever feel this real forever …” It’s not when they play “Everlong” the end of The Wolf of Wall Street. Listen to our playlist to accompany this story now.Īndy Hull: I know what my number one isn’t. Here, the men behind it share their favorite (and not so favorite) moments in score history, from David Wingo to Stranger Things. The break in routine cultivated a hypnotizing score that is every bit as strange as the film it supports. Working within unique restraints forced the bandmates to approach writing music in ways never before put to action for Manchester Orchestra. “It’s changed our view on how to create and what is deemed possible or what can be creatively accomplished if you just let go and let the thing run away with itself,” Hull admits. Swiss Army Man marks a major turning point for Hull and McDowell, both personally and musically. The result is an emotive collection of tracks (including haunting renditions of the Jurassic Park theme and “Cotton Eye Joe”) comprised almost entirely of voices in place of musical instruments and sung by the Manchester Orchestra boys, as well as Dano and co-star Daniel Radcliffe (who plays the corpse, Manny). The directors gave specific instructions: use only “natural” materials to create the score, as if the music were a stream of consciousness from Paul Dano’s castaway character, Hank. What came next was a thirteen-month trial-and-error affair as Hull and McDowell experimented with various vocal loops, trying to find the perfect tone that suited Daniels’s vision. Inspiration flowed both ways and each artistic team made an impact on the other, so when Daniels began developing the script about a tale of a castaway and a flatulent dead body, it seemed only natural that Manchester Orchestra were scouted to create the score. Hull and McDowell met Daniels in 2011 when the latter were seeking out a director for Manchester Orchestra’s “Simple Math” music video. Other descriptors could include “incomparable,” “vulnerable,” “evocative,” or “music made from humming.” All are fitting, especially the latter. “Weird” is certainly one of many adjectives that can be used when describing the soundtrack Andy Hull and Robert McDowell of Manchester Orchestra created to accompany Swiss Army Man, a film by Daniel Kwan and Daniel Scheinert (referred to together as Daniels). Sometimes a break from what’s comfortable opens a door to something bold, refreshing, and maybe, in the most endearing of ways, a little bit…weird. But sometimes change leads to magical things. When you’ve been a band for twelve years, it’s usually not the most well received idea to change the formula under which you go about making your music.
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