The best scores transport you into the world of the story and never let you go.
What happens when composers with an inclination towards synthesizers and electronics work with a director who wants a score rooted in an orchestral palette? You get a score comprised of everything from a harp, distorted vocals, and a rusty gate.
We are describing Jason Lazarus and Max Davidoff-Grey’s work on Stephen Hall’s latest horror feature, The Gates, which is available now on VOD.
In case you aren’t familiar with the film, the official synopsis reads: “London, 1892. William Colcott has been sentenced to death by Electric Chair. Upon his day of death, he curses the prison he resides in along with all that dwell within the gates. Two post-mortem photographers turned paranormal investigators, Frederick Ladbroke and Emma Wickes, become embroiled in an investigation with a mysterious medium, Lucian Abberton. They must work together to stop William’s spirit from escaping Bishops Gate Jail and unleashing the gates of hell on Victorian London.”
Author: Jason Hellerman
This article comes from No Film School and can be read on the original site.
