Nami Melumad: The Protostar theme is my favorite because it kind of evolves from the first time you see the Protostar, which is personally one of my favorite scenes in the show. What has been your favorite theme or motif that you created so far? Zero has the piccolo, Gwyn has this keyboard-y kind of bell tone sound, and Jankom has a trombone. Same for Zero, when there's a moment that is mainly Zero's - Zero saves the day, or Zero's doing something - then it will play their theme. Then that motif sprinkles throughout when it's a moment that is about him. He has this attitude that show in his theme. You can notice that his music would have more trombone, a little bit clumsy. There are certain characteristics that are very Tellarite, and emphasized in the show. Nami Melumad: It's actually pretty simple because these characters are such unique individuals. How did you differentiate the different characters through your musical motifs? You'll see that the more the show evolves, the more Star Trek-y it becomes music-wise.
The introduction is quite slow, but the music goes with it. When you see Janeway, in a way, it represents the Federation, which the kids are not really. So the musical nod is more nostalgic for Trekkies and for me. We want new people to come into the Star Trek world and then later enjoy Voyager, TNG, DS9, Discovery, and all that. But you also have to keep in mind that this show is aimed at younger audiences. Nami Melumad: There are a lot of ways that you can nod to the feel of that score, whether it's the use of woodwinds or just certain harmonies that feel more aligned with that show. “We want the viewers to leave the cinema like they’ve just stepped off a roller-coaster.When it came to scoring scenes featuring Hologram Janeway, knowing that she is an icon, what inspiration did you draw from Voyager? Dark at times, strong changes of pace, it will be a visual assault too, stylistically striking, contemporary and challenging,” said Dugdale, who has directed documentaries and concert films for artists including, Adele, The Rolling Stones, Coldplay, Ed Sheehan, The Prodigy and Paul McCartney. Production is expected to start this Spring. Pulse Films’ Thomas Benski, Marisa Clifford and Sam Bridger will produce alongside Howlett, Maxim and band co-manager John Fairs in the role of executive producer. This film will be made with the same integrity that our music: uncompromising, raw and honest. “Or simply, a story of brothers on a mission to make noise, to ignite the people’s soul and blow-up sound systems worldwide, that’s fucking what. “It’s a story of the chaotic and troubled journey of our gang, our band, the people’s band, The Prodigy,” they added. “After the devastating passing of our brother Keef in 2019, the time feels right for us to tell the story of our band, all of it, the whole nine,” the two said.
#Music prodigy movie archive
Howlett and Maxim said that the film - which will combine archive footage, animation and first-hand testimonies - was dedicated to their late friend. Success, international fame, fortune, addiction, fighting and chaos would almost tear the band apart, but The Prodigy stayed together and continued writing music and touring until the tragic death of their iconic wild-haired frontman Keith Flint in 2019. Singles such as “Firestarter” and “Breathe” - taken from their third album, 1997’s The Fat of the Land, which hit the top spot in the Billboard 200 - would help push them into the mainstream and give them a huge global audience. The Prodigy would become one of the biggest British bands of the 1990s, selling an estimated 30 million records worldwide. ITV Content Boss on Rebooting 'Big Brother' and Launching Streamer ITVX: "You Have to Fight Ever Harder" to Attract Audiences
0 kommentar(er)
