JESSE ZUBOT JOINS CORE AGENCY AS MONKEY BEACH SWEEPS AWARDS:

Core Music Agency is elated to have multi award-winning film composer and Canadian music icon JESSE ZUBOT join its roster. His latest film MONKEY BEACH (co-scored with composer Russell Wallace), was directed and produced by Loretta Todd. The film recently swept the American Indian Film Festival in San Francisco, and has been a top-grossing Canadian film at the box office since Oct. 23. It was also the opening night Gala film at the 2020 Vancouver International Film Festival (VIFF).

Jesse has two Canadian Screen Award nominations, one for his score to TWO LOVERS AND A BEAR and the other for HECTOR AND THE SEARCH FOR HAPPINESS (co-composed with Dan Mangan). He also recently won a SOCAN award for his score to the highly acclaimed film INDIAN HORSE.

Vicious Fun to Premiere at SITGES Festival Internacional de Cinema Fantàstic de Catalunya

Cody Calahan's VICIOUS FUN will premiere at SITGES this year. Starring Evan Marsh, Ari Millen, Amber Goldfarb and David Koechner the film features an amazing 80's retro score by Core composer STEPH COPELAND.

GOOD THR REVIEW FOR VOLITION:

- "The propulsive pacing will keep even less attentive viewers engrossed, while those closely following the plot's twists and turns will find their diligence rewarded."

Tony Dean Smith's mind bending film Volition will see a digital release tomorrow, July 10. Scored by Core client composer MATTHEW ROGERS. Soundtrack available now on Lakeshore Records.

Read the article here.

The Lighthouse track "Arrival" on official OSCAR Spotify Playlist

This year's official Spotify OSCAR Playlist includes the track "Arrival" by Core Composer MARK KORVEN from Oscar nominated film THE LIGHTHOUSE, as well as music from John Williams, Alexandre Desplat and Elton John!

The Rob Eggers film starring Willem Dafoe and Robert Pattinson received a 2020 Academy Award nomination for Best Achievement in Cinematography. Congrations to Jarin Blaschke.

Film Composers Tap Into Offbeat Inspirations for Scores

VARIETY - Director Robert Eggers’ original idea for music in his intense period character study “The Lighthouse” turned out to be wrong. “I originally wanted it to be quite minimalist, but I should have known better,” he says. “The over-the-top indulgent writing, the insane performances and the camerawork, all as wild and crazy as Robert Pattinson’s character, required the same [musical treatment].”

He encouraged composer Mark Korven to pursue atonal compositional techniques. “Rob wanted the stormy black sea, the cruel wind,” says Korven. “It’s about character and mood. The score, essentially, is the character of the sea, the squalls, the dark mythology.” Horror today, he adds, “is so drenched in cliche that when someone comes along that’s thinking outside the box, filmmakers can seize on that.”

A large collection of brass is the core of “The Lighthouse” soundtrack, Korven notes, with such other offbeat colors as waterphone, bowed crystal and “some ludicrously badly played accordion courtesy of myself.”

The director was briefly disturbed by a studio executive’s comment that it sounded like “a Yeti moaning in the wilderness.” “You have to question, when is the obscurity adding to the tension and when is it just strange?” Eggers admits. “With any score, it’s about supporting the story. So long as it supports the story, and isn’t distracting, people will go along for the ride.”

Read about it here in VARIETY