Amelia warner wikipedia bahasa indonesia

World Soundtrack Awards. Archived from the original on 1 July Retrieved 11 October Archived from the original on 1 October Retrieved 23 February Retrieved 31 October Next Best Picture. External links [ edit ]. Awards for Amelia Warner. World Soundtrack Award — Public Choice. Rahman W. Klaus — Alfonso G. Authority control databases. Deutsche Biographie Deutsche Synchronkartei.

Categories : births Living people 20th-century English actresses 21st-century English actresses 21st-century English composers 21st-century English singers 21st-century English women singers Actresses from Birkenhead Alumni of Goldsmiths, University of London English film actresses English film score composers English people of Welsh descent English television actresses English women composers Musicians from Birkenhead People educated at Fine Arts College People educated at the Royal Masonic School Singers from Merseyside Women film score composers.

Hidden categories: Articles with short description Short description is different from Wikidata Use British English from February Use dmy dates from May Pages using infobox person with multiple parents Articles with hCards. Toggle the table of contents. Amelia Warner. Musician composer actress. Annette Ekblom mother Alun Lewis father. Hywel Bennett paternal uncle Jim Dornan father-in-law.

Leading Lady Parts [ 14 ]. Wild Mountain Thyme [ 15 ]. Malcolm's List. Young Woman and the Sea. Kathleen is here [ 16 ]. Mansfield Park. Waking the Dead. Take a Girl Like You. How did you work on combining the two and making it all flow together? So, I knew that there were already these two very important musical things in the film. Swan Lake features in these really pivotal moments of the movie.

So, I guess, I felt like there was this third pillar of the score that I needed to write that was kind of finding the identity and the sound of Ireland, of the farm and where they live and the history and that was the bit that I needed to fill in. But, yes, there amelia warner wikipedia bahasa indonesia already these very strong things that I knew were going to be in the score, so I knew it was going to have this kind of richness to it and this variety.

It was finding something that would sit between the two. So, having that full classical orchestral music of Swan Lake and having something that could match that. But then also, having something that could work with the folk element of Wild Mountain Thyme and the smaller, more acoustic folk sound. Can you also talk about the Irish sound that you composed?

And, what was your inspiration for that? I spent quite a lot of time in Ireland and everywhere you went, there was music. But then, I also really wanted to incorporate all of the instruments and this instrumentation that you associate with Ireland. It was all about trying to find that balance. We had a band for most of those cues that was clarinets, bass, an accordion and two fiddle players.

On all of the Irish folk cues, we had this great violin player called Sam Sweeney. There was lots of improvisation and it had a really fresh energy and a character to it. I think that was really important because, obviously, the film is weird and the characters are all a bit strange, so you can use it to have a real character to it. I feel like both Wild Mountain Thyme and Mary Shelley are girl power scores, scores that have a strong touch of female empowerment.

Would you agree with that assumption? Seeing a woman back in that time making the decisions that she made and the choices that she made and having the agency that she had for her own life, I felt like there was a lot of girl power going on in there and I wanted the score to have a kind of strength. There are more and more female composers today.

Can you talk about being one of them today and who was your inspiration when you decided to become a film composer, because back then things were different?

Amelia warner wikipedia bahasa indonesia

It just suddenly felt like there was a bit of a shift and that film music was starting to really broaden. There were lots of artists who were in bands or who were singers who were suddenly doing brilliant scores and amazing work. I love that sound of it kind of floating. So, that was the idea of that EP. I wanted the whole thing to feel like piano that was floating in from somewhere else, whether it was from another time or from another generation.

They all came and we set it all up and we recorded the noise of the room, the barn, the birds and the fire. And then, obviously, three months later, we were all in lockdown. So, it was like a weird echo. What was the best advice you received when you started out? And, what would you say to a young girl who wants to be a film composer now? What advice would you give her?

You just have to go for it. I am useless at all of that stuff and absolutely terrible, but I can write melodies, I can have an emotional response to what I see on a screen and I can have really strong instincts about how the music should be. What would you say your sound is and what would you want your audience to feel when they hear your scores?

But I do love themes and melody. I like a strong melody. I feel like Mary Shelley was a bit more abstract and a bit more textural and atmospheric, but I think that Wild Mountain Thyme is a classic movie theme. I love writing melody. Digital Spy. Diakses tanggal 29 April Select Model Management. Diarsipkan dari versi asli tanggal Diakses tanggal 24 October The New York Times.

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