Click to Skip Ad
Closing in...
Top 10 Takeaways: 'Mission: Impossible - Rogue Nation' Opens Strong, But Summer 2015 Has Peaked Top 10 Takeaways: 'Mission: Impossible - Rogue Nation' Opens Strong, But Summer 2015 Has Peaked Arthouse Audit: Controversy Reigns as 'End of the Tour' Tops Limited Newbies and Weinstein Dumps Jeunet's Latest Arthouse Audit: Controversy Reigns as 'End of the Tour' Tops Limited Newbies and Weinstein Dumps Jeunet's Latest Friday Box Office: Cruise and 'Mission: Impossible' Do Their Part, But Grosses Lag Friday Box Office: Cruise and 'Mission: Impossible' Do Their Part, But Grosses Lag Fall Calendar Reveals Awards Itinerary and Stealth Contenders Fall Calendar Reveals Awards Itinerary and Stealth Contenders Sarajevo Film Fest Lineup Has Auteurs, Cannes Winners and Favorites Sarajevo Film Fest Lineup Has Auteurs, Cannes Winners and Favorites Jason Segel Takes On David Foster Wallace in Controversial 'End of the Tour' (VIDEO) Jason Segel Takes On David Foster Wallace in Controversial 'End of the Tour' (VIDEO) First Look: Cynthia Nixon Plays—and Narrates—Emily Dickinson in Two Films First Look: Cynthia Nixon Plays—and Narrates—Emily Dickinson in Two Films Troubled Western 'Jane Got a Gun' Rescued as Relativity Files for Bankruptcy (Updated) Troubled Western 'Jane Got a Gun' Rescued as Relativity Files for Bankruptcy (Updated) Read Martin Scorsese's Column on His Favorite Hollywood Leading Ladies Read Martin Scorsese's Column on His Favorite Hollywood Leading Ladies A Woman in Charge: Warner Bros. Names Sue Kroll Head of Global Distribution A Woman in Charge: Warner Bros. Names Sue Kroll Head of Global Distribution Netflix and Marvel Shake Up TCAs, Amazon Rescues Bryan Cranston Pilot Netflix and Marvel Shake Up TCAs, Amazon Rescues Bryan Cranston Pilot 'The Witch' Won't Open Until 2016, But Its Sundance-Winning Director Has a New Film 'The Witch' Won't Open Until 2016, But Its Sundance-Winning Director Has a New Film Charles Aidikoff Screening Room Shutters: End of an Era for LA Critics? Charles Aidikoff Screening Room Shutters: End of an Era for LA Critics? How HBO's 'Ballers' Fails Sports Fans How HBO's 'Ballers' Fails Sports Fans Michael Moore Reveals Stealth NSA Project 'Where to Invade Next' on Periscope Michael Moore Reveals Stealth NSA Project 'Where to Invade Next' on Periscope Showtime Chief on David Lynch's 'Twin Peaks' Revival: "It's His Show" Showtime Chief on David Lynch's 'Twin Peaks' Revival: "It's His Show" Toronto Film Festival Lineup: What Did They Get? Toronto Film Festival Lineup: What Did They Get? Discover the Brothers Quay, Identical Twin Animators Who Inspired Christopher Nolan Discover the Brothers Quay, Identical Twin Animators Who Inspired Christopher Nolan Jill Soloway Says "There Is an All Out-Attack" on Female Filmmakers Jill Soloway Says "There Is an All Out-Attack" on Female Filmmakers Why Kevin Costner Paid for 'Black or White' (New Trailer, Sneak Preview Q & A) Why Kevin Costner Paid for 'Black or White' (New Trailer, Sneak Preview Q & A)

First-Time Feature Composer Ryan Amon Scores Neill Blomkamp's Sci-Fi Thriller 'Elysium'

Photo of Jacob Combs By Jacob Combs | Thompson on Hollywood August 5, 2013 at 6:29AM

The email was unexpected and short--a single sentence: "Is this you?"--with a YouTube link and a signature from a name Ryan Amon didn't recognize: Neill Blomkamp. "It's a little bit embarrassing," Amon says of his first reaction to the message: "I had to Google his name!" When he did so, of course, he found the up-and-coming South African-born director who had catapulted to international acclaim with his 2009 film "District 9."
0
Matt Damon in "Elysium"
Matt Damon in "Elysium"

"I felt very comfortable writing music just from imagining something going on," Amon says, comparing the process to his work in commercials.  Blomkamp's directions were broad and impressionistic, consisting of instructions such as--in Amon's words--"do some music that represents light."  "I didn't know how to approach it at first," the composer admits.  "I was experimenting all over the board."

Once Amon had finished several early compositions for "Elysium," Blomkamp began to temp the film with the composer's tracks.  As the process went on, Blomkamp sent Amon video clips from the film, which he would use to shape the music to fit the scenes.  When post-production work neared completion, Amon travelled to Blomkamp's Vancouver studio to work with the edit team and sync the music to picture--something he essentially learned to do on the fly, having limited experience with it in his commercial and trailer work.

At Blomkamp's behest, Amon avoided a traditional sci-fi/fantasy sound, working instead for an aural palette to match the film's gritty verisimilitude.  Amon and Blomkamp recorded the London Philharmonia at Abbey Road ("I had to pinch myself when I was over there"), and the composer challenged himself to use nontraditional instrumental techniques and organic sounds, such as a mix of de-tuned, overlapped colobus monkey and baboon cries to create an unsettling chatter that follows the film's villain.

The most poignant musical touch in Amon's score, by far, is its use of the unadorned human voice, which he created with Francesca Genco, a Bay Area singer (and yoga-teaching multi hyphenate), by asking asked her to improvise in the studio. The result is etherial, haunting and moving.  "Elysium" throbs with masculine energy, but several women play pivotal roles in the motivation of Matt Damon's main character, and Genco's lullaby-like contribution smoothes out the film's edges and borders on maternal. "Human nature, to me, is improvisation," the composer says.  "It's a philosophical thing laid into the film as an overtone."

This week, Amon will attend the L.A. premiere of "Elysium," and then it's back to work.  He has a few possible feature projects lined up, which he demurs from talking about, and he says he would revisit composing for trailers if the right person approached him with a project.  He yearns to score a drama, to stretch himself in a different direction from the big sounds that got him his start.  "I hope I get to do a lot more films," Amon says, "because I'm addicted to it now."

If "Elysium" is any indicator, Amon won't have much trouble making that dream a reality.

This article is related to: Elysium, Neill Blomkamp, Neill Blomkamp, Matt Damon, Sound and Score


E-Mail Updates








Thompson on Hollywood

Born and raised in Manhattan, Anne Thompson grew up going to the Thalia and The New Yorker and wound up at grad Cinema Studies at NYU. She worked at United Artists and Film Comment before heading west as that magazine's west coast editor. She wrote for the LA Weekly, Sight and Sound, Empire, The New York Times and Entertainment Weekly before serving as West Coast Editor of Premiere. She wrote for The Washington Post, The London Observer, Wired, More, and Vanity Fair, and did staff stints at The Hollywood Reporter and Variety. She eventually took her blog Thompson on Hollywood to Indiewire. She taught film criticism at USC Critical Studies, and continues to host the fall semester of “Sneak Previews” for UCLA Extension.