The Annotator

In this episode, Ian Honeyman shares about how he managed writing and recording this score with a tight turn-around time. While balancing his deadline, Honeyman also reveals how he still managed to give his score a unique, organic sound through resourceful decisions like employing his wife for vocal work as well as a Mongolian horse-head fiddle which was given to him by the Chinese, metal band, Voodoo Kung fu!

In this episode, Nitin Sawhney opens up his score for Mowgli revealing how his main theme was written to reflect the essence of the titular character.

In this episode, composer Daniel Pemberton unties his musical web of themes; instruments and "Technics" he used for Spider-Man: Into the Spider-Verse.

For his original score to STAN & OLLIE, Rolfe Kent reveals how he worked with director Jon Baird on finding the balance in the score between evoking the sound of the silent-movie-era but also a contemporary elements as well. Kent also talks about how he juxtaposed specific, orchestral instruments to vividly contrast the characters of Stanley Laurel and Oliver Hardy in his music.

Composer ETHAN GOLD talks about how he, in addition to writing the film's original score, came to write key songs for the film to replace the temp music from the 30s and 40s. He also reveals for the first time, the name of a mysterious instrument he employs; one that no one has been able to guess thus far. Lastly, Gold shares how his suffering a serious head injury during his writing process came to significantly impact the instrumentation and tone of his final score.

In this episode, H-Pi, talks about his score's connections to the original Brave Frontier, and shares a curious story regarding the score’s lead violinist who's surname was one of most famous names in the world of Japanese gaming - "Kojima." Lastly, Henri Pierre reveals the origin behind the his pseudonym, H-Pi.

In this episode, Nathan Barr talks about recording the score for "The House with a Clock in Its Walls" in his own new studio, including the former 20th Century Fox stage, 1928 Wurlitzer theater organ he had restored over four years.

Anne Chmelewsky talks about how she captured the two most important ideas of the film, WHERE HANDS TOUCH, within her score: identity and love; not only writing individual themes for each but composing a delicate yet powerful interaction between the two. She also reveals how some efficient use of left-over time in a string recording session ended up helping to get her hired onto this important feature film project.

Toby Chu walks us through his entire score for the Pixar short, BAO, giving us insight into how his score largely represents the story arc of the Mom. He shares about how he made use of both Western and Eastern orchestration and how his choices not only reflect the push and pull between two cultures but also the ups and downs of some mother-son relationships.

Daniel Hart is a performer and composer from Dallas, Texas, who has toured and recorded with bands like St. Vincent, The Polyphonic Spree, Broken Social Scene, Other Lives, and countless others.

In recent years, Hart has been composing music for film and TV. His feature film debut, Ain’t Them Bodies Saints, garnered him critical praise, and Filmmaker Magazine named him one of 2013’s 25 Faces of Independent Film. Hart has scored a dozen feature films over the last four years, including Disney’s Pete’s Dragon and the Natalie Portman-produced documentary Eating Animals. He also composed the music for Showtime's SMILF and Fox’s TV show The Exorcist. In 2017, Daniel Hart composed the original score to A GHOST STORY, released by A24.

David Lowry (Ain’t Them Bodies Saints and Pete’s Dragon) wrote and directed A GHOST STORY, starring Academy Award winner, Casey Affleck, and Academy Award nominee, Rooney Mara. The film is about a recently deceased person who returns to his suburban home, as a ghost, to console his bereft wife, only to find that in his spectral state, he has become unstuck in time and forced to watch passively as the life he knew and the woman he loves slowly slip away.

In this episode, Daniel Hart reveals how a number of key themes came to him by watching early footage of the film repeatedly, how he found himself being recorded playing solo cello for the first time, and how his song, “I Get Overwhelmed” originally written and performed for and by his band Dark Rooms, became a part of A GHOST STORY and how it ended up providing several key elements of the score

ANNOTATED TRACKS AND SEGMENTS

02:42- "Little Notes"

05:44- "Post Pie"

06:46 - "The Secret in the Wall"

10:43 - "Vivientes Elim"

14:13 - "I Get Overwhelmed"

OTHER TRACKS

00:03 - "Safe Safe Safe"

SOUNDTRACK

The original soundtrack was release on July 6, 2017 by Milan Records. The score is available on Amazon.com, itunes, and streaming on Spotify and Apple Music.

MORE ABOUT THE COMPOSER

You can find out more about and hear more music by Daniel Hart at his official site https://www.danielhartmusic.com/

You can follow Daniel Hart on Twitter @danielmwenda

ABOUT THE ANNOTATOR

Produced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.

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