THE THEORY OF EVERYTHING Soundtrack Available 11/4
Back Lot Music/Universal Music announces the 11/4 release of THE THEORY OF EVERYTHING soundtrack -- both digitall and on CD -- with a score from acclaimed Icelandic Composer Jóhann Jóhannsson. Jóhannsson, who met TTOE director James Marsh in 2010, was fascinating by both the director and the subject. "I'm a big fan of James as director - ever since I saw Man on Wire years ago," recalls Jóhannsson, "and I have also always been fascinated by Stephen Hawking, both as a writer and theorist as well as a human being. I approached the music very much on emotional terms." To create his score, Jóhannsson played with conceits inherent in the story. "It's a film about an astrophysicist, but it's in essence a love story," explains Jóhannsson. The music stems in a way from the tension between the Hawking the man and Hawking the scientist. Most of the score is derived from very simple elements that are announced in the first frames of the film -- a four-note piano ostinato which then slowly expands into more complex forms and appears and re-appears evolved, deconstructed and re-assembled in various renderings throughout the film."
Back Lot Music/Universal Music announces the 11/4 release of THE THEORY OF EVERYTHING soundtrack -- both digitall and on CD -- with a score from acclaimed Icelandic Composer Jóhann Jóhannsson. Jóhannsson, who met TTOE director James Marsh in 2010, was fascinating by both the director and the subject. "I'm a big fan of James as director - ever since I saw Man on Wire years ago," recalls Jóhannsson, "and I have also always been fascinated by Stephen Hawking, both as a writer and theorist as well as a human being. I approached the music very much on emotional terms." To create his score, Jóhannsson played with conceits inherent in the story. "It's a film about an astrophysicist, but it's in essence a love story," explains Jóhannsson. The music stems in a way from the tension between the Hawking the man and Hawking the scientist. Most of the score is derived from very simple elements that are announced in the first frames of the film -- a four-note piano ostinato which then slowly expands into more complex forms and appears and re-appears evolved, deconstructed and re-assembled in various renderings throughout the film."