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The Playlist

Clint Mansell Scoring Adaptation Of Irvine Welsh's 'Filth' Starring James McAvoy

  • By Kevin Jagernauth
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  • January 4, 2013 2:40 PM
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  • 0 Comments
Musician and composer Clint Mansell doesn't crank out film scores, but when he does, it's always worth paying attention. Even when it's for otherwise forgettable fare like "Faster" or unjustly ignored dramas like "Last Night" (one of the key pieces of which is being used in the trailers for Steven Soderbergh's "Side Effects"), it's worth tracking down. Distinctive and unique, while he may be best known for his work on Darren Aronofsky's films, his discography speaks for itself. And it looks 2013 is going to find us being treated to health dose of Mansell.

Darren Aronofsky Confirms Clint Mansell Is Scoring 'Noah,' Discusses Their Working Relationship

  • By Kevin Jagernauth
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  • December 11, 2012 12:04 PM
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  • 0 Comments
Considering composer Clint Mansell has worked with Darren Aronofsky on all of the director's films to date, it's not a big shock that they will be working together once again. But still, it's nice to get some confirmation, and indeed, during a masterclass at the Marrakech Film Festival (you can read all the highlights right here) Aronofsky confirmed that Mansell will be back for his Bible epic "Noah." But perhaps most revealing is Aronofsky's description of their working relationship.

Clint Mansell To Score Park Chan Wook's English-Language Debut 'Stoker'

  • By Charlie Schmidlin
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  • June 4, 2012 8:44 AM
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  • 3 Comments
Just as Abbas Kiarostami's “Certified Copy” glimpsed a different facet to the director's style through its international cast and location, Park Chan-Wook looks to follow suit with his English-language debut, “Stoker.” While the “Oldboy” helmer's particular brand of odd humor and unsettling drama will most likely remain intact, certain aspects of the film look to be taking a different approach, including the recent addition of one of the most talented composers working today.

Oscilloscope Pick Up LCD Soundsystem Doc 'Shut Up And Play The Hits,' Netflix Buy David Tennant Soccer Drama 'United'

  • By Oliver Lyttelton
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  • April 3, 2012 9:17 AM
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  • 1 Comment
Few thought that when Beastie Boy Adam Yauch set up distribution label Oscilloscope Laboratories to put out his 2008 directorial debut "Gunning For That #1 Spot," it would turn out to be anything other than a vanity side-project. But in fact, the company has evolved over the past four years to become one of the most forward-thinking indie distributors around, having released films like "Dear Zachary," "Wendy And Lucy," "Treeless Mountain," "The Exploding Girl," "Howl," "The Unloved," "We Need To Talk About Kevin," "Bellflower," "The Messenger," "Exit Through The Gift Shop" and "If A Tree Falls," the latter three all turning out to win Oscar nominations for their trouble.

Cliff Martinez Scoring Robert Redford's 'The Company You Keep'; Details On Clint Mansell's 'Last Night' Soundtrack Release & More

  • By Kevin Jagernauth
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  • February 16, 2012 1:19 PM
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  • 0 Comments
A few bits of soundtrack/score news to catch up on, so let's get right to it, shall we? First up, Cliff Martinez -- who knocked everyone's socks off last year with this scores for "Drive" and "Contagion" -- is kicking of 2012 in a big way. He's already tuned up the forthcoming "Arbitrage" starring Richard Gere, and re-teamed with Nicolas Winding Refn for "Only God Forgives." Now he's been nabbed by Robert Redford to bring his upcoming drama "The Company You Keep" to musical life.

Clint Mansell's Score For 'Last Night' To Get A March 27th Release, Composer Playing L.A. Shows In Support

  • By Oliver Lyttelton
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  • January 19, 2012 1:00 PM
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  • 2 Comments
The drama "Last Night," from director Massy Tadjedin, and starring Keira Knightley, Eva Mendes, Sam Worthington and Guillaume Canet, rather came and went last year. No one had paid much attention when it premiered at Toronto in 2010, and no one really paid much attention when it hit theaters last May -- the film is a decent enough adultery drama, but pretty unremarkable in every way. Well, in every way but one; a score by one of the best-regarded composers of his generation, Clint Mansell.

Daft Punk, Zooey Deschanel, Justin Bieber & More Nominated For Film Soundtrack & Score Related Grammys

  • By Kevin Jagernauth
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  • December 1, 2011 1:41 PM
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  • 3 Comments
Hey, the Oscars aren't the only awards show in town for movie lovers. Granted, it's the biggest and glitziest, but if you're a movie fan looking to keep track of which films are winning what, the Grammys are on the way, and they've announced their nominations for the 54th awards ceremony. Soundtrack/score hounds will be pleased.

That Explains The Trailer Music: Clint Mansell Scoring 'The Iron Lady'

  • By Kevin Jagernauth
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  • July 22, 2011 3:37 AM
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  • 6 Comments
Just a couple of weeks ago, the first teaser trailer for the highly anticipated, and likely Meryl Streep Oscar vehicle, "The Iron Lady" hit the interwebs and it was a little...odd. In addition to being much more lightweight than we expected a film about Margaret Thatcher to be, the most curious aspect was that it was scored to Clint Mansell's “Welcome To Lunar Industries” from his excellent score for "Moon." Well, turns it out it wasn't just a lazy decision on behalf of whoever cut the trailer.

Clint Mansell Scores BBC TV Soccer Pic 'United'; Jonathan Goldsmith Tunes Up 'Take This Waltz'

  • By Kevin Jagernauth
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  • March 30, 2011 2:20 AM
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  • 0 Comments
While next week's "Source Code" will be without a score by Clint Mansell who left the project citing scheduling conflicts and was replaced by Chris Bacon, the composer is certainly busy. Last month he was hired to score the videogame "Mass Effect 3" (take that Roger "video-games-aren't-art" Ebert!) and now he's got another film project on his plate.

Academy Disqualifies Scores For 'Black Swan,' 'True Grit' and Others From Oscar Consideration

  • By Oliver Lyttelton
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  • December 21, 2010 2:40 AM
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  • 9 Comments
The trouble with the Academy awards, and indeed in putting too much stock in them, is that you're relying on the decisions being made by a relatively small, aging group of people. In many ways, things are improving -- Academy membership is getting younger, and it's starting to show: we can't imagine "The Hurt Locker" winning Best Picture even a decade ago. But in some categories, and some branches, there's still a frustrating conservatism at work; the Foreign Language branch, for instance, have a long history of picking safe choices over other, more worthy films.

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