We’re kicking off 2024 with several very under the radar scores – the year got off to a relatively quiet start, but that doesn’t mean there aren’t a number of interesting worthwhile scores released; you just have to look close […]
The very first notes of The Black Phone let us know that this won’t quite be your typical Mark Korven score. An ugly, noisy synth melody plays, backed by grating roars and shrieking noise, all while we watch a montage […]
November takes us into the heart of awards-season film releases. In other words, there are A TON of great movies released in November and December, all vying for awards and critical prestige. As a result, there are some fantastic scores […]
I often see people complain that there have been few, if any, good scores released in 2021. While there may have been a few slower months, October continues the trend of nearly endless good scores. There were almost too many […]
The one and only Mark Korven joins me on The Film Scorer Podcast! Mark is probably best known for scoring films like The Witch and The Lighthouse, but his latest score is for Resident Evil: Welcome to Raccoon City. We […]
Borrowing from a concept he first explored in The Witch, Mark Korven‘s score for The Lighthouse gives a voice to the film’s monolithic “Lighthouse.” A monotonous, deafening wail roars out intermittently, overwhelming everything. This is the call of the Lighthouse, […]
October has been far and away the strongest month this year for new film scores. The downside of this eruption is that there are simply too many, with quite a few otherwise worthy scores being left out of this writeup. Oppression […]
A common complaint about film and TV scores is their use of tone over melody (a complaint perhaps most famously made by Jason Segel’s composer character in Forgetting Sarah Marshall). Mark Korven completely ignored this complaint for his score of […]