Music
Howard Blake was musical director on The Hunger. Although a soundtrack has been available since the film’s release (Varese Sarabande VSD 47261) this issue omits much of the music used in the film — see Movements section below. Blake also composed the orchestral score for Flash Gordon (1980) alongside rock band Queen, and the Oscar® winning animated short film of Raymond Briggs', The Snowman (1982).
Blake's notes on working with director Tony Scott: “Tony wanted to create a score largely using classical music and I researched this, many days going to his home in Wimbledon with stacks of recordings to play to him. One of these was the duet for 2 sopranos from Delibes 'Lakme', which I recorded specially with Elaine Barry and Judith Rees, conducting my orchestra The Sinfonia of London. Howard Shelley joined with Ralph Holmes and Raphael Wallfisch to record the first movement of Schubert's Piano Trio in E flat. Ralph recorded the Gigue from Bach's Violin Partita in E and Raphael the Prelude to Bach's solo cello sonata in G, to which Bowie mimed. I was persuaded to appear in one scene as a pianist, for which I wrote a 'Dolphin Square Blues'. Tony wanted to add a synthesizer score and I introduced him to Hans Zimmer, then working at The Snake Ranch Studio in Fulham but Tony eventually used a score by Michel Rubini and Denny Jaeger with electronics by David Lawson. It is hard however to exactly separate these elements.”
Read more about this topic: The Hunger (1983 film)
Famous quotes containing the word music:
“A woman drew her long black hair out tight
And fiddled whisper music on those strings
And bats with baby faces in the violet light
Whistled, and beat their wings
And crawled head downward down a blackened wall....”
—T.S. (Thomas Stearns)
“Let music sound while he doth make his choice;
Then if he lose he makes a swan-like end,
Fading in music.”
—William Shakespeare (1564–1616)
“I fear I agree with your friend in not liking all sermons. Some of them, one has to confess, are rubbish: but then I release my attention from the preacher, and go ahead in any line of thought he may have started: and his after-eloquence acts as a kind of accompaniment—like music while one is reading poetry, which often, to me, adds to the effect.”
—Lewis Carroll [Charles Lutwidge Dodgson] (1832–1898)