‘Saltburn’ Composer Anthony Willis On Emerald Fennell’s “Dirty Synth” And Templar Knights – Sound & Screen Film

Deadline’s Read the Screenplay series, spotlighting the year’s most talked-about scripts, continues with Saltburn, the brutally dark satirical thriller written and directed by Emerald Fennell. The pic marks her sophomore feature, on the heels of the Best Original Screenplay Oscar winner Promising Young Woman. 

One of the best aspects of the democratization of creative media is the ability for just about anyone to write and self-publish a novel. We’ve seen so many authors in the modern era get their start with self-published books.

Following her Best Original Screenplay win for Promising Young Woman, Saltburn, Emerald Fennell’s sophomore feature, presents a gothic tale of obsession and excess, starring Barry Keoghan as Oliver, a social-climbing Oxford student obsessed with the aristocratic Felix (Jacob Elordi). The multi-hyphenate Fennell also pops up as the pregnant Midge doll in Barbie and is co-penning the upcoming John Wick spinoff Ballerina. Here, she agrees to revisit some best memories, or, as she puts it, “rummage around those skeletons.”

Paul Mescal and Andrew Scott are opening up about their new movie All of Us Strangers.

Deadline’s Read the Screenplay series spotlighting the year’s most talked-about scripts continues with Flora and Son, John Carney‘s latest indie ode to music that stars Eve Hewson in a breakout role.

Emerald Fennell’s dark comedy Saltburn takes a massive jump from to over 1,500 screens today as Bradley Cooper’s Maestro, Hayao Miyazaki’s latest The Boy and the Heron, animated They Shot The Piano Player and other festival favorites launch awards season runs this Thanksgiving specialty weekend.

There is no need for anyone to delicately dance around the reactions to “Saltburn.” Director and screenwriter Emerald Fennell is well aware her follow-up to the Oscar-winning “Promising Young Woman” is, for lack of a better phrase, somewhat polarizing. In fact, after speaking with her late last week it’s clear those sorts of passionate reactions (throw this writer into the growing “love it” camp) are exactly what she’s going for.

Will Tizard Contributor Cinematographer Linus Sandgren says he and director Emerald Fennell relied on their emotions and instincts to conjure the “gothic” look of “Saltburn,” the hybrid psychological horror and dark comedy just screened at the Camerimage cinematography festival in Torun, Poland. The film’s tight Academy aspect ratio, for one thing, was an idea that arose only after meeting with Fennell, who wrote the over-the-top story of a strange, middle-class Oxford student, Oliver Quick (Barry Keoghan), infiltrating the world of the filthy rich one sunny summer.

Nick Vivarelli International Correspondent Italian cinema is in the spotlight at the Academy Museum in Los Angeles where the screening series “Ennio Morricone: Essential Scores from a Movie Maestro,” programmed in partnership with Cinecittà, is currently playing to sold-out audiences. The Oct. 6-Nov.

n 2020, Emerald Fennell turned heads with the powerful and emotionally-charged revenge thriller that was Promising Young Woman. The movie took the industry and awards season by storm and so expectations are high for her follow-up, Saltburn. Telling the story of Oliver Quick (Barry Keoghan), a scholarship student at Oxford University, Saltburn is yet another remarkable accomplishment from Fennell.Saltburn opens with Keoghan’s Oliver speaking directly into the camera.

Film Movement has acquired U.S. rights to Maciek Hamela’s In the Rearview, winner of well over a dozen awards at film festivals around the world, including the top prize at Sheffield DocFest.

The 2023 edition of Deadline’s live-music event Sound & Screen: Film hit the stage November 9 showcasing the songs and scores from 12 of the ramping-up awards season’s buzziest movies. Panelists and performances came from the likes of Diane Warren and Mark Ronson and from movies as varied as Barbie and Creed III to Killers of the Flower Moon and Napoleon. The packed crowd of industry voters saw a 60-piece orchestra perform the music live.

Patrick Frater Asia Bureau Chief “Auto-bio Pamphlet,” a Marathi-language film that is both a love story and a rage against class divisions, will open the 18th edition of the Jogja-NETPAC Asian Film Festival later this month. The festival will close with the world premiere of spy thriller “13 Bombs in Jakarta.” JAFF run Nov.

In Apple Original Films’ Flora and Son, single mom Flora (Eve Hewson) is at a loss about what to do with her rebellious teenage son Max (Orén Kinlan). Encouraged by the police to find Max a hobby, Flora tries to occupy him with a beat-up acoustic guitar. With the help of a washed-up L.A. musician (Joseph Gordon-Levitt), Flora and Max discover the transformative power of music.

Diane Warren has written hit songs for the soundtracks to movies from Mannequin to Armageddon. She has three original songs in 2023 movies, but her song for Flamin’ Hot is especially personal. Warren said she wrote “The Fire Inside” because she related to the movie’s subject.

What does it take to create the sounds of a boxing champ? Turns out it requires a mighty force of trumpets, heavy percussion, and the fear of trying not to disappoint legendary music producer Dr. Dre, said Creed III composer Joseph Shirley, who joined Deadline’s Sound & Screen live music event to discuss the film.

The Peasants Sound and Screen performance stood out with a full line of Polish dancers in the aisles. Composer Lukas Rostkowski, aka L.U.C., said the animated film’s score also included a choir of refugee singers from Ukraine.

When creating a score to fit the nuanced humanity of the man on a brutal warpath, composer Martin Phipps had quite the challenge. It only became that much more complex when he reached out to director Ridley Scott, who offered him no specifics on a musical theme.

Society of the Snow tells the story of the rugby team whose plane crashed in the Andes mountains in 1972, the incident made famous in the book and 1993 movie Alive. But whereas Alive focused on the survivors, who had to resort to eating the dead crash victims to survive, J.A. Bayona’s Venice Film Festival-closing movie focuses on the ones who did not make it.

When you’re composing music for a character named Thelonious “Monk” Ellison in the movie American Fiction, it should be pretty obvious where a composer like Laura Karpman might find her inspiration.