New Line Cinema’s Annabelle: Creation —the follow up to 2014’s hugely successful film Annabelle.
Golden Globe® and Emmy® nominee Benjamin Wallfisch (upcoming IT, A Cure For Wellness, Lights Out) is recognized as one of the leading film composers of his generation. His masterfully unnerving 24-track Annabelle: Creation film score offers a potent dimension of eeriness that magnifies the suspenseful discomfort when set against picture.
“It’s always a joy to collaborate with David F. Sandberg; not only is he of course a master filmmaker, but he’s also a great musician,” says Wallfisch about the Annabelle: Creation director. “His deep understanding of what a score can bring to the table in such a finely nuanced, beautifully crafted piece of cinema as Annabelle: Creation, gave me a lot of freedom to think outside the box.
“Our only rule was everything in the score had to be acoustic; as the drama is set in the 1950s, everything needed to feel authentic to the time,” Wallfisch further explained. “As a supplement to the large orchestra we used on the score, we utilized a whole bunch of dusty toy instruments from the 1950s, with one in particular appearing more than any other - a seemingly innocent sounding Jaymar toy piano. Just the kind of instrument you might catch Annabelle herself playing…”
Golden Globe® and Emmy® nominee Benjamin Wallfisch (upcoming IT, A Cure For Wellness, Lights Out) is recognized as one of the leading film composers of his generation. His masterfully unnerving 24-track Annabelle: Creation film score offers a potent dimension of eeriness that magnifies the suspenseful discomfort when set against picture.
“It’s always a joy to collaborate with David F. Sandberg; not only is he of course a master filmmaker, but he’s also a great musician,” says Wallfisch about the Annabelle: Creation director. “His deep understanding of what a score can bring to the table in such a finely nuanced, beautifully crafted piece of cinema as Annabelle: Creation, gave me a lot of freedom to think outside the box.
“Our only rule was everything in the score had to be acoustic; as the drama is set in the 1950s, everything needed to feel authentic to the time,” Wallfisch further explained. “As a supplement to the large orchestra we used on the score, we utilized a whole bunch of dusty toy instruments from the 1950s, with one in particular appearing more than any other - a seemingly innocent sounding Jaymar toy piano. Just the kind of instrument you might catch Annabelle herself playing…”
Jeremy [Six Strings]
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