MovieScore Media: Robot Overlords & Grabbers by Christian Henson
Starring Gillian Anderson and Ben Kingsley, Robot Overlords is set in a dystopian future where Earth has been conquered by powerful robots from a distant galaxy. The human survivors are confined to their houses and must wear electronic implants, risking incineration by robot sentries if they move outside their designated homes. A revolt ensues...
The score is a hybrid of electronic and orchestral elements, written from the perspective of the child protagonists. The music dares to be bombastic and overpowering, or as the composer put it, he wrote what sounds true for those kids who grew up under the robot yoke. As Henson explains: “A lot of modern action scores today are descriptive by merely creating a musical impression of what is onscreen. We tried to populate the score with 'the truth' for all the players - this means when we are scary, we’re impossibly horrific. When we’re tragic, all is is lost. And when we’re heroic, we’re totally shameless. And like all kids,we had the ability to turn our emotions on a six-pence in the moment."
The second release next to Robot Overlords is Grabbers, a 2012 alien invasion film set on a small island off the coasts of Ireland. Starring Richard Coyle, Ruth Bradley and Russell Tovey, the action/horror/comedy starts out like any good alien invasion film with blood-thirsty, sea-dwelling aliens arriving to Erin Island. Their path of terror is marked by whale carcasses and mysterious disappearances, but a full-on attack is thwarted by an unlikely escape route to our heroes. The aliens can’t tolerate alcohol, so as long as the residents of the island can fend off the invaders while they’re drunk enough, they may have a chance of survival.
The music from the previous Wright/Henson collaboration, Grabbers is released as part of MovieScore Media’s Discovery Collection. Just like Robot Overlords, the music for Grabbers follows the "bigger is better approach" with bombastic action cues and picturesque faux-Celtic music playing an ode to the composer’s own childhood memories. As he recalls: “This score is dedicated to my father and the Saturday afternoons we spent together watching all of those great movies of the 70’s, an homage to my entire childhood film heritage. This score leaped off the page on first reading. It struck me that an immersive, thematic line was needed to help the viewer escape into the movie like the good ol’ days was what was required. We needed a shameless celebration of movie music and the sheer enjoyment of cinema.” Both scores were recorded at Air Studios, London.
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