When composer Philip Glass was first approached by executive producer Mark Romanek to score “Tales From the Loop,” he was immediately drawn to the striking paintings of Simon Stålenhag that served as the basis for the existential sci-fi drama from Amazon Prime Video. Given his own spirituality, it was the perfect fit for Glass’ TV debut. Only he was too busy with other projects, so he suggested finding a collaborator — and that’s when Paul Leonard-Morgan joined the team.
It was no coincidence. Both had worked with documentary director Errol Morris, and Leonard-Morgan’s mesmerizing score for “Wormwood” was the clincher.
“The show is a unique narrative on humanity, so we didn’t want the score to feel like classic Hollywood, but more organic — like the music is just there in the loop, an integral part of the story,” Glass said.
“I figured if we could both work with Errol,...
It was no coincidence. Both had worked with documentary director Errol Morris, and Leonard-Morgan’s mesmerizing score for “Wormwood” was the clincher.
“The show is a unique narrative on humanity, so we didn’t want the score to feel like classic Hollywood, but more organic — like the music is just there in the loop, an integral part of the story,” Glass said.
“I figured if we could both work with Errol,...
- 6/22/2020
- by Bill Desowitz
- Indiewire
When composer Philip Glass was first approached by executive producer Mark Romanek to score “Tales From the Loop,” he was immediately drawn to the striking paintings of Simon Stålenhag that served as the basis for the existential sci-fi drama from Amazon Prime Video. Given his own spirituality, it was the perfect fit for Glass’ TV debut. Only he was too busy with other projects, so he suggested finding a collaborator — and that’s when Paul Leonard-Morgan joined the team.
It was no coincidence. Both had worked with documentary director Errol Morris, and Leonard-Morgan’s mesmerizing score for “Wormwood” was the clincher.
“The show is a unique narrative on humanity, so we didn’t want the score to feel like classic Hollywood, but more organic — like the music is just there in the loop, an integral part of the story,” Glass said.
“I figured if we could both work with Errol,...
It was no coincidence. Both had worked with documentary director Errol Morris, and Leonard-Morgan’s mesmerizing score for “Wormwood” was the clincher.
“The show is a unique narrative on humanity, so we didn’t want the score to feel like classic Hollywood, but more organic — like the music is just there in the loop, an integral part of the story,” Glass said.
“I figured if we could both work with Errol,...
- 6/22/2020
- by Bill Desowitz
- Thompson on Hollywood
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