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When a world renowned Hollywood movie director entered editing suite #23 of Universal Studios in Los Angeles to begin work on the final cut of his multi million dollar movie (slated for release eight months later), the classical score had already been delivered. Written by his close friend, a legendary film composer, recorded by a huge orchestra in London, premixed, waiting to be laid under the picture sequences at the digital suite. It was clear that a great deal of hard work and passion had been dedicated in the making of this individual sound signature. But that was not to be. Whilst driving home one evening, after a long day working on his final edit, the well-known movie director clicked a song on his son's iTunes, which immediately caught his attention. He listened to it over and over again. On arrival home, he knew that was it. The powerful and yet very melodic and melancholic song was exactly the kind of music his movie needed. On the same night he made his agent contact with the two guys who had produced the track that had so deeply moved him. Within three days they all met in editing suite #23, Universal City, watched the edit and talked about plans to make the whole soundtrack in their style. Naturally, this meant replacing the classical score, that had been so meticulously written, arranged and recorded by the director’s dear friend. It took We Are Are We three weeks of 24 hours shifts, to produce all the music for the hundred minute Hollywood blockbuster-to