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- #Composer of the walking dead theme song movie
- #Composer of the walking dead theme song series
- #Composer of the walking dead theme song tv
The orchestra that I record every week on "Agents of S.H.I.E.L.D." for Marvel, for example, is every bit as big as the orchestra that records on their movies. Sometimes it feels a little like that, although really I think that trend is reversing. Are you the exception to the rule? Are you fighting against a trend here? But you're able to work with very talented musicians. My impression of music in television is a little bit like arts education in public schools: it's like the first thing to go.
#Composer of the walking dead theme song movie
And when I was about 6 I realized you can go to a store and buy a tape or vinyl of the music from a movie without the dialogue and sound effects.
![composer of the walking dead theme song composer of the walking dead theme song](https://www.artofthetitle.com/assets/sm/upload/fi/ch/n8/1j/twd9_concept_24.jpg)
I was! I would bring them to the movie theater and hold them up, because I wanted to take the music home and listen to it. I was 5 years old and I was in a movie theater, and I started bringing these little Fisher-Price tape recorders? And I guess I wa.
#Composer of the walking dead theme song tv
How early did you find your love for film and TV scores?
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When McCreary came by the Frame studio (hurdy-gurdy in hand), we talked about the current landscape of music on television, cutting his teeth on "Battlestar Galactica" and the enjoyable restrictions of working on Starz.
#Composer of the walking dead theme song series
Over the years he’s forged a niche for himself, creating orchestral scores for shows mainly in the sci-fi and horror genres, but his more recent project includes the period epic “Black Sails,” the Starz series about the golden age of pirating, which just started its second season.įor this series, McCreary wanted to use period-specific instruments, like the hurdy-gurdy, to lend authenticity to the show and break the mold of "epic orchestration" that has become standard for shows and films about pirates. Working under the original scorer, Richard Gibbs, McCreary took over as principal composer after Gibb's departure only three episodes into the series. McCreary has created original music for TV shows like "Battlestar Galactica," "The Walking Dead" and "Agents of S.H.I.E.L.D." His first gig creating music for TV was on "Battlestar" when he was just 24 years old. Stay tuned for more from this amazing interview and experience.You might not recognize composer Bear McCreary if you passed him on the street, but chances are you’ve heard one of his iconic television scores. "There is so little music in the show that when you start hearing that string-repeating figure start getting louder and louder, you know that something is about to happen, and it creates this fun sense of anticipation and excitement."Įxcitement indeed. "It's a neat concept because you know when you're watching a teaser of a series you know the main title is coming," he said. "It takes you to that dark and lonely, spooky place, and that was really my inspiration for writing the main title."Īccording to McCreary, the absence of music throughout much of the series makes it even more important to create the proper tone with the opportunities available. "That, to me, was the little hook - that little thing that, whenever you hear it, it takes you to the series," he added. "You hear the main title music before the main title begins, so you know it's coming." "It repeats over and over, and in fact in the pilot episode, you start hearing it before the main title begins, and this is something that continues episode to episode," he explained.
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Instead, McCreary said he went for a simplistic approach - a repetitive, "simple" little line in the strings section. "I wanted to create something that would get stuck in your head, so that when you hear it you would think of 'The Walking Dead.' But I also didn't want to do a full-on theme song in the traditional sense like I did on the 'Human Target' series, for example." "I also wanted to create something really catchy," he recalled. I knew that we were all headed in the same direction." "And when I saw some of the designs that were coming in from the main title animators, it was exactly that: empty streets, abandoned buildings, broken-down cars, children's toys laying on the ground. "This is more about the emptiness," McCreary said of the show's tone.