Director Joseph Kosinski famously collaborated with the music duo Daft Punk on the score for Tron: Legacy, and for his new film Oblivion, Kosinski has once again reached out to the music community for the pic’s soundtrack. The filmmaker has been developing Oblivion for a number of years, and in a recent interview with Steve the filmmaker revealed that as early as his first treatment for the script in 2005, he had noted his desire for a soundtrack from the electronic band M83.
Kosinski’s dream came true, as Anthony Gonzales and Co. have composed the entire original score for Oblivion and now the first track from their efforts has been unveiled online. “StarWaves” is a decidedly synth-heavy cut, but it does a nice job of mirroring the scope and expansiveness of Oblivion that we’ve seen in the trailers. Hit the jump to take a listen and to see what Kosinski had to say about M83’s score for the film. Oblivion opens in IMAX and traditional theaters on April 19th.
Via Rolling Stone.
Here’s an excerpt from Steve’s interview with Kosinski regarding M83:
Joseph Kosinski: I had been thinking about M83. I went back and I found my first treatment for Oblivion from 2005 and it had listed in the treatment a soundtrack of M83, Boards of Canada; they were listed back then when they had only done an album or two. So I always felt like Anthony’s music was suited to this story from its very inception. So when it came time to putting this film together, obviously the Tron: Legacy collaboration with Daft Punk worked out as good as I would have ever hoped, I wanted to do something similar in that I’m pulling an artist from outside the movie business to create an original sound for this film. But I didn’t want it to be—Daft Punk’s music wouldn’t make sense for this movie. It had to be an artist whose music fit the themes and story I was trying to tell. And M83’s music I felt was fresh and original, and big and epic, but at the same time emotional and this is a very emotional film and it felt like a good fit. So I talked to him very early and he was finishing up his latest album at the time and I am so excited. I brought in Joe Trapanese, the orchestrator from Tron: Legacy is now the orchestrator on this so it’s very similar arrangement of talent. I’m as excited about what we’re doing musically for this film as I was for Tron.
Kosinski: It’s been a little different because on Tron the timeframe of that movie from development through shooting through post was three years, so Daft and I got started very early on ideas. So when we were shooting I actually had a dozen tracks or something, demos, but something I could play on set. I don’t know if you were on set, at the End of Line club, I think you were probably there.
Kosinski: We were playing the tracks that were eventually used in that scene. That’s very unusual, I think, to have your score before you shot. Having the music while you’re cutting it was a good thing in many ways and maybe not so good thing in other ways. But that was the process and ended up with a score and a picture which were very interlocked and I think it made sense for that movie. This one was a little different just because we’re moving faster I didn’t have full songs on set in the same way. The development was a little more typical where I had a couple demos while we were shooting, but most of the work’s been done in post. We’re going to be recording everything in January.
Is it going to be all new tracks or will there be any tracks that he’s done in the past?
Kosinski: All new. All original, all new, yeah.
Do you foresee fifteen tracks or do you have an idea of how many there are?
Kosinski: I’m not sure what the count is, but it’s a lot of music. There’s a lot of music in the movie. It’s probably eighty percent scored. I would say the same thing I said for the Daft Punk tracks, some stuff feels like Daft and some stuff you would never guess Daft would do. Some of my favorite tracks from Legacy were tracks that you would never guess in a million years were Daft Punk and I think the same goes for this. Some of the stuff you’re going to hear the M83 in its full glory, screaming out, but at other times it serves the movie as a score should it’s under the surface. So it will be interesting to see what people think.