An exclusive preview of composer Bear McCreary’s music for Nacho Vigalondo’s wild genre film Colossal
Composer Bear McCreary (The Walking Dead, 10 Cloverfield Lane, The Boy) continues to build his already staggering genre entertainment resume with his stirring, vaguely experimental score for director Nacho Vigalondo‘s new psychological kaiju film Colossal. Lakeshore Records will release McCreary’s Original Motion Picture Soundtrack for the wild film digitally on April 7th and on CD May 12, 2017. And we have an exclusive preview of the track “A Monster Hypothesis” to share with today.
Colossal is about Gloria (Anne Hathaway) is an out-of-work party girl who finds herself in relationship trouble with her sensible boyfriend, Tim (Dan Stevens), and is forced to move back to her tiny hometown to get her life back on track. She reconnects with childhood friend Oscar (Jason Sudeikis), a good-natured bar owner with a coterie of drinking buddies (Tim Blake Nelson and Austin Stowell), and resumes her drinking lifestyle.
Meanwhile, on the other side of the world, a larger-than-life creature begins attacking Seoul, South Korea on a nightly basis, captivating spectators around the world. One night, Gloria is horrified to discover that her every move at a local playground is being mimicked on a catastrophic scale by the rampaging beast. When Gloria’s friends get wind of the bizarre phenomenon, a second, more destructive creature emerges, prompting an epic showdown between the two monsters.
“I chose to focus the music entirely on Gloria,” explained McCreary. “We witness the fantastic events through her eyes, so I generally chose to score her reaction to the events, rather than the events themselves.”
McCreary took an unusual approach to working on the film – he started at the end. “It was vitally important that the score deliver an epic, soaring finale, without overpowering or destroying the tone of the film. The last 12 minutes of the film was the first thing I wrote. Once the final reel was approved by the director and studio it was an easier process to reverse engineer the rest of the score.” He continued, “I wanted the score to feel almost schizophrenic for the first hour of the film. Like, some edgy indie rock band scored half of it, and a classically trained orchestral composer scored the other half. Then, as the film progresses, the two musical styles merge to form a coherent vision.”
Check out McCreary’s evocative track below and be sure to catch this oddball genre film when it hits theaters on April 7th.