If it’s right on the second take, move on to the next cue. It’s the amount of time you have available to write it! We went into RAK studios in London and recorded with a rhythm section, brass, strings and the actors themselves singing to make sure it all looked and sounded as real and convincing as possible.
He fantastically provided, and in about 30 minutes each song was written both lyrically and musically. Wonderful question! That’s not always a bad thing though as I tend to work well under tight deadlines – perhaps I shouldn’t have said that…sssh, don’t tell anyone.MATTHEW: It rather depends to the extent of music that’s incorporated into the story. I also had the opportunity to work closely with Tom (exec.
Discover more music, concerts, videos, and pictures with the largest catalogue online at Last.fm. Matthew Slater – Composer An exclusive ENDEAVOUR interview by Damian Michael Barcroft. 346 Tracks. I’d worked with Barry, Colin Dexter’s and latterly Russell Lewis’ characters for years so they seemed naturally embedded in me although Morse, Lewis and now Endeavour all have a subtle musical difference yet are definable as sitting in the same dramatic world.
It’s always an honour to work with the LMO as it’s like working with friends who just happen to be world class musicians.MATTHEW: December 1982! Find the latest tracks, albums, and images from Matthew Slater. I asked Russ whether he’d mind writing a few more verses to give me a handle on the songs. 170 Followers. That’s what makes the whole ENDEAVOUR process so exciting as each film I’ve ever worked on sets up new challenges and the fun is how are we going to deal with each musically.MATTHEW: His huge appreciation of the quality of the musicians we both work with and how to run an efficient yet relaxed recording session. One was Children’s TV Themes (1972: Cy Payne & His Orchestra) and the other was Star Wars and Other Galactic Space Themes (1978: Geoff Love & His Orchestra). Spielberg would then recut the end of the film to fit the most musically emotional performance by the orchestra and to me that’s why it’s one of my most emotionally charged moments in modern cinema where the combination of music and picture combine in perfection.MATTHEW: That very much depends on each film. Sometimes that might be to compose the last climatic cue first so we can all see where our film is heading towards musically and making sure everyone is on board for that and sometimes the film needs a more chronological approach from start to finish in terms of composing the score. I was on set during one of the playback scenes when I overheard two actors trying to Google one of our tracks to see who originally wrote it in the ‘60’s which was a rather humbling experience. His film and drama scores have received much praise from critics in the industry, and prove Matthew’s ability to consistently maintain an exceptionally high level of quality in his work. 1,948 likes.