Dario Marianelli

The Boxtrolls

For a film about a group of trolls who spend their nights collecting trash (and turning it into treasure), the music should definitely be silly to fit with the goofy attitude of the boxtrolls themselves. But for a story about an orphan raised by said boxtrolls who needs to convince the world they are not something to be exterminated, the music also needs to create an emotional connection to these dirty, box wearing (but also pretty darn adorable) trolls. Composer Dario Marianelli rises to the challenge with his score for the upcoming film, The Boxtrolls, based on Alan Snow‘s novel “Here Be Monsters!” Snow’s story proves that just because someone may be called a monster (or a boxtroll), it does not mean they are not worthwhile or important, and Marianelli successfully compliments this story with a score that is fun, silly, adventurous, and has just the right amount of heart. This is Marianelli’s first time composing for an animated featured and the Italian composer does not shy away from his roots here, infusing The Boxtrolls‘ score with operatic singers and Italian instrumentation. Take a listen to our exclusive preview of The Boxtrolls soundtrack here:

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annakarenina10

There are currently only two Academy Awards given out for music: Best Original Score and Best Original Song. This might seem like a silly thing to point out, but it wasn’t always the case. As recently as 1998 there were separate categories for Dramatic Score and Musical or Comedy Score, divided like the Golden Globes divide their acting and picture awards. And in the past there’s been a Best Adaptation Score, the name of which was changed over and over again, while back in the late 1930s there were another two separate categories, Best Scoring and Best Original Score. Music at the Oscars has had a complicated history. The context makes it all the more strange that, with only the Best Original Score category left, stuff can get thrown out for being too “adapted.” True Grit and Black Swan were both declared ineligible for nomination because they were based on 19th Century hymns and Swan Lake, respectively. The Academy, which once went out of its way to recognize adaptation in musical composition, now rejects it entirely. This year, however, in both musical categories the best work is full of allusion and the blending of influences. Gone are the days of Max Steiner and Bernard Herrmann, whose music was often brilliant but tended to strive for originality within a single orchestral playbook.

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published: 12.23.2014
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published: 12.22.2014
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published: 12.19.2014
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