Nerd icon Edgar Wright (Shaun of the Dead, Hot Fuzz) has kept the spirit of his crews together from film to film, consistently collaborating with some of the names he’s worked with before, on-screen and off. Wright’s the type of filmmaker whose movies will always carry his signature, thanks to day players and behind-the-scenes creators who help realize the helmer’s vision. Wright recently took to his Twitter to break the happy news that yet another former collaborator, Steven Price, is back in the fold for his upcoming Marvel movie:
This is a re-teaming of Price and Wright, as Price helped craft the score for Wright’s The World’s End, a buzzy, synthy background hum that gave that picture it’s propulsive electronic charge. Prior to that, Price was a regular in the music department for several productions, particularly ones as massive as Batman Begins and the Lord Of The Rings series. He also logged hours for Wright on Scott Pilgrim Vs. The World, where he rubbed elbows with superproducer Nigel Godrich and Beck.
Of course, Price mostly gets this gig on the strength of Gravity, for which he took home the BAFTA, and is expected by many to also grab the Oscar. His moody, constantly vibrating compositions had the impossible task of having to seem both un-noticeable (ain’t no sound in space, bro) and relevant to the film’s suspense, boosting moments even further and injecting the film with a sense of foreboding doom. Listen here!
He’s got another nice gig on the way as composer of the Brad Pitt WWII film Fury, and is very clearly one of Hollywood’s rising composers.
What’s also unusual about this is that it further cements that Marvel is letting Wright put his own stamp on Ant-Man. The scores for Marvel movies so far have been purposely nondescript, so as to not clash with each other, keeping with Marvel’s consistent visual palette and soundscape. Price has been known for a buzzy, almost dancy use of synthesizers since his first scoring gig, working with Basement Jaxx on Ant-Man co-writer Joe Cornish’s Attack The Block. Maybe you could hum Alan Silvestri’s Avengers and Captain America scores, but Iron Man switches composers each film out, and Brian Tyler’s work on the second Thor was only a last minute replacement for Carter Burwell’s compositions, and it certainly sounded like a rush job. At the very least, what we can expect from Ant-Man is the best Marvel score thus far.
