Max Richter - Disconnect (Henry Alex Rubin's Original Motion Picture Soundtrack) (2013)
BAND/ARTIST: Max Richter
- Title: Disconnect (Henry Alex Rubin's Original Motion Picture Soundtrack)
- Year Of Release: 2013
- Label: Editions Milan Music
- Genre: Soundtrack
- Quality: FLAC lossless & booklet
- Total Time: 49:59 min
- Total Size: 176 MB
- WebSite: Album Preview
A NOTE FROM THE DIRECTOR
I grew up as a bit of a musical outcast, loving classical music, especially Bach, when most of my friends were listening to Pearl Jam. Working on this score with composer Max Richter in Berlin was one of the happiest weeks of my life. It was like finding an old friend I always thought I should have. We spent our time hopped up on espressos, humming ideas, discussing everything from Koyaanisqatsi to Glenn Gould. We spoke a lot about how movies used to leave you humming their theme songs. Last Tango in Paris, Contempt, A Man and a Woman, for example. We particularly admired the way the director Krzysztof Kieslowski would work with his composer Zbigniew Preisner to create melodies that were consciously braided throughout his narratives. In the same way, “On the Nature of Daylight” became the emotional blueprint for our film. From the very first bars, we are awash in emotion and nostalgia, and by the time the violin enters with the counter melody, it's a kick to the stomach. In the first act, the young Ben Boyd plays the piece’s chords on his keyboard, humming the melody. In the second act, when the boy’s father discovers his son’s recording, the soundtrack merges from the homemade version into the end of Max’s piece. We finally get to hear the composition in its entirety underneath the film’s denouement, with the violin’s top line entering over the precise moment of the film’s climax. Composers typically score to picture but in this case, I storyboarded and filmed the final sequence with Max’s music in mind. Truffaut coined the term a "privileged moment" to describe a moment when an actor or director reveals something beautiful or intimate of their personality onscreen. For me, the entry of the violin’s descant over the melody is Max Richter’s privileged moment. I think that my producer Bill Horberg, everyone at LD Entertainment and I all consider ourselves lucky to have Max's score uplifting our film. We hope you feel the same way.
- Henry-Alex Rubin, NYC, 2013
Tracklist:
02 - Max Richter - Find Schumaker (0:47)
03 - Max Richter - Love Slave (2:49)
04 - Max Richter - Zero Balance (4:00)
05 - Max Richter - Clone the Hard Drive (1:20)
06 - Max Richter - Pursuit (1:35)
07 - Max Richter - Hospital (1:41)
08 - Max Richter - Running (7:04)
09 - Max Richter - The Report (0:58)
11 - Max Richter - Arrival (2:10)
12 - Max Richter - Drycleaner (1:46)
13 - Max Richter - Break in (3:29)
14 - Max Richter - Confrontation (11:01)
15 - Max Richter - Afghanistan (1:33)
16 - Max Richter - I Will Come and Get You (2:05)
17 - Max Richter - The Gun (2:07)
18 - Max Richter - Derek to El Paso (1:39)
19 - Max Richter - Unwritten (1:49)
20 - Max Richter - The Swimmer (2:07)
I grew up as a bit of a musical outcast, loving classical music, especially Bach, when most of my friends were listening to Pearl Jam. Working on this score with composer Max Richter in Berlin was one of the happiest weeks of my life. It was like finding an old friend I always thought I should have. We spent our time hopped up on espressos, humming ideas, discussing everything from Koyaanisqatsi to Glenn Gould. We spoke a lot about how movies used to leave you humming their theme songs. Last Tango in Paris, Contempt, A Man and a Woman, for example. We particularly admired the way the director Krzysztof Kieslowski would work with his composer Zbigniew Preisner to create melodies that were consciously braided throughout his narratives. In the same way, “On the Nature of Daylight” became the emotional blueprint for our film. From the very first bars, we are awash in emotion and nostalgia, and by the time the violin enters with the counter melody, it's a kick to the stomach. In the first act, the young Ben Boyd plays the piece’s chords on his keyboard, humming the melody. In the second act, when the boy’s father discovers his son’s recording, the soundtrack merges from the homemade version into the end of Max’s piece. We finally get to hear the composition in its entirety underneath the film’s denouement, with the violin’s top line entering over the precise moment of the film’s climax. Composers typically score to picture but in this case, I storyboarded and filmed the final sequence with Max’s music in mind. Truffaut coined the term a "privileged moment" to describe a moment when an actor or director reveals something beautiful or intimate of their personality onscreen. For me, the entry of the violin’s descant over the melody is Max Richter’s privileged moment. I think that my producer Bill Horberg, everyone at LD Entertainment and I all consider ourselves lucky to have Max's score uplifting our film. We hope you feel the same way.
- Henry-Alex Rubin, NYC, 2013
Tracklist:
02 - Max Richter - Find Schumaker (0:47)
03 - Max Richter - Love Slave (2:49)
04 - Max Richter - Zero Balance (4:00)
05 - Max Richter - Clone the Hard Drive (1:20)
06 - Max Richter - Pursuit (1:35)
07 - Max Richter - Hospital (1:41)
08 - Max Richter - Running (7:04)
09 - Max Richter - The Report (0:58)
11 - Max Richter - Arrival (2:10)
12 - Max Richter - Drycleaner (1:46)
13 - Max Richter - Break in (3:29)
14 - Max Richter - Confrontation (11:01)
15 - Max Richter - Afghanistan (1:33)
16 - Max Richter - I Will Come and Get You (2:05)
17 - Max Richter - The Gun (2:07)
18 - Max Richter - Derek to El Paso (1:39)
19 - Max Richter - Unwritten (1:49)
20 - Max Richter - The Swimmer (2:07)
As a ISRA.CLOUD's PREMIUM member you will have the following benefits:
- Unlimited high speed downloads
- Download directly without waiting time
- Unlimited parallel downloads
- Support for download accelerators
- No advertising
- Resume broken downloads