‘Glass Onion’ Composer Nathan Johnson On Working With Cousin Rian Johnson [Podcast] –

While original adult films haven’t been doing well at the box office of late in the shadow of the tentacles, Netflix’s sneak peek previews for the week of Thanksgiving The Glass Onion: A Knives Mystery It seems to be turning the tide in its short time before hitting the service on December 23rd.

Today on Crew Call, we speak with filmmaker Rian Johnson’s cousin, Nathan Johnson, who has composed the former’s entire big screen canon of scenes. Star Wars: The Last Jedi (where it was subbed by, natch, original franchise composer John Williams).


As Netflix scooped. Knife out 2 and 3 for $400M, Glass onions There is of course a much bigger, more luxurious sequel to the original theatrical release with a $40M budget. It’s not just the new mystery set among his rich friends in a tech titan’s (Edward Norton Greek) estate that reflects this, but also in the score. Daniel Craig’s world famous detective Benoit Blanc is also on the scene, anticipating a sinister m*rder, which he intends to possibly solve.

“We wanted to make it all bigger while at the same time respecting the sandbox that we had established before. pull out a knife,The sequel’s orchestra is growing to 70 pieces punctuated by harpsichord and haunting tuneglass, Johnson tells CrewCall today.

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Daniel Craig as Detective Benoit Blaine and Janelle Muni as Andy in ‘Glass Owen’, courtesy of Netflix

John Wilson/Netflix

“We brought back the quartet (from the first film), complete with the orchestra going bananas,” the composer adds.

Johnson’s jumping-off point was music wise Nino Rota’s score for the 1978 version. Death on the Nile for a “pleasant, lush, romantic European sound”.


“Ryan was thrilled to hear all the instruments sound precise and concise, rather than washed out,” added Johnson.

“Ryan talks about when he’s writing this, he doesn’t want to do a crossword puzzle, he wants to do a rollercoaster ride,” the composer says of how the score should do that.

The two began shooting scrappy films on 8mm and developing video technologies as kids in the suburbs of Denver, Colorado, using John Williams film scores as their soundtrack.

“Every time we got together, we’d make a movie,” Johnson says.


However, whether we’ll see these early collaborations precede Johnson’s films. brick, looper, And first of all pull out a knife, Well, “they are hidden in a drawer and will never be revealed to the public.”

Listen to our conversation with Nathan Johnson below. Glass onions.

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