L’UOMO DEL LABIRINTO / INTO THE LABYRINTH (Original Motion Picture Soundtrack)
L’UOMO DEL LABIRINTO / INTO THE LABYRINTH
(Original Motion Picture Soundtrack)
Director Donato Carrisi
Cast Dustin Hoffman, Toni Servillo…
Music Composed, Orchestrated & Conducted by Vito Lo Re
Orchestra: Bulgarian National Radio Symphony Orchestra
Label Plaza Mayor Company Ltd
Distribution Sergent Major Company Ltd – The Orchard
The film tells the sotry of Samanta
(Valentina Belle) who’s abducted on the way to school by a giant rabbit.
Fifteen years later, she’s in hospital, in shock but alive, with Doctor Green
beside her trying to help her remember. Together, they negotiate Samantha’s
memories of the labyrinth, an underground prison, apparently with no way out,
in which someone forced the young woman to play games and solve riddles and
puzzles, rewarding her successes and punishing her failures. Also eager to sole
the mystery is Bruno Genko, a private investigator with a surprinsing talent.
He doesn’t have much longer left to live and, as such, Samatha’s could be the
last case Bruno work on...
Each
soundtrack has it’s own concept and from that notion the music attempts to
express the visual and aesthetic idea of the director. The more the director is
a perfectionist, the more the work of the composer becomes extremely
challenging and yet satisfying as well. Particularly in thrillers, there are
several composers whose influence is undeniable: Bernard Hermann, Jerry
Goldsmith, James Newton-Howard, Howard Shore and John Ottman, among others.
This is the musical world I moved into while never forgetting a typical Italian
cantabile that evokes strong themes able to inextricably link to the movie as
only skin could do.
I used several synthesizers together with the
orchestra, particularly to draw out the mystery of the labyrinth. The labyrinth
is cold, wet and frightening. Electronic sounds are perfect to express these
features. But when we need to convey not a situation but a character, there is
still nothing better than the dear, old orchestra. No sample can do the same
job as 75 people breathing and playing together. Even if it could be
technically more perfect, it will always miss the soul. And that's definitely
the composer's job: touching the soul. Only the audience and time will reveal
if we have been able to achieve this goal.
Vito
Lo Re
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