Category: film

  • Keanu Reeves Brawn Soundtrack

    Keanu Reeves Brawn Soundtrack

    Keanu Reeves with thje Brawn F1 car

    Philip Sheppard’s soundtrack to the Keanu Reeves series; ‘Brawn: The Impossible F1 story’. Music score from the new Disney+ Hulu series

    Philip Sheppard’s soundtrack to the Keanu Reeves series; ‘Brawn: The Impossible F1 story’. Stream here

    About Brawn and Keanu Reeves

    In a Hollywood-worthy narrative that Keanu Reeves insists had to grace the tv screen, the saga of Brawn: The Impossible F1 Story unfolds against the backdrop of Formula 1’s tumultuous 2009 season. The symphony of triumph and tribulation crescendos with the documentary’s pulsating soundtrack, a creation of Composer Philip Sheppard, perfectly attuned to the highs and lows of the series now streaming on Disney+.

    In the annals of motorsports lore, the departure of Honda from Formula 1 in 2009 stood as a seismic event, leaving Jenson Button and Rubens Barrichello without a team. Enter Ross Brawn, a maestro of managerial prowess, who orchestrated a takeover of the team for a mere £1, an audacious move that set the stage for a tale that few believed could unfold favorably.

    Brawn’s audacity paid off in a dazzling display of resilience and skill. Against the odds, Jenson Button claimed the world title, and Brawn GP secured the constructors’ championship, transforming what seemed like a eulogy into an exultant ode to triumph.

    Keanu Reeves, our tour guide into the inner workings of that fateful season, takes us on a riveting journey through the lens of a four-part documentary series. Brawn: The Impossible F1 Story peels back the layers of disruption preceding the season, unveiling the meteoric rise of Button, who, despite the early-season turmoil, clinched victory in six of the first seven races in 2009.

    The climax of the season, aptly set in Brazil, witnessed Button’s dramatic ascent from 14th to finish fifth, securing the championship in a heart-stopping finale. Button’s quote resonates like a poignant soliloquy in the ears of BBC Sport, “I could have finished eighth and still clinched the title at the last race by finishing fifth or sixth. But I wanted to finish on a high – prove to yourself as much as anyone else that you’ve got that killer instinct.”

    The heartbeat of Brawn GP’s success lies in their innovative approach to Formula 1’s new regulations of 2009. While others saw problems, Brawn GP saw opportunities. Episode one of the documentary delves into the intricacies of their strategic gamble, focusing on a ‘double diffuser’ that ultimately passed the scrutiny of the FIA despite protests from rival teams.

    Bernie Ecclestone, the sage of Formula 1, opines in episode two that interpreting rules has been a timeless art, and Brawn, a seasoned architect of Michael Schumacher’s triumphs, wielded his rulebook wisdom with finesse.

    The narrative weaves through Brawn’s journey from orchestrating Schumacher’s victories to the Honda tenure, sealed with a symbolic pound coin – an artifact now sacredly carried by Honda executive Hiroshi Oshima.

    The revelation that Brawn GP operated on a shoestring budget adds a gritty subplot to the fairy tale. Button, reflecting on the challenging times, notes the camaraderie forged in adversity but can’t help but rue the financial constraints that often left the team “running out of bits.”

    The Music

    Philip Sheppard’s musical score, an epic accompaniment to the series, resonates through the twists and turns of the Brawn GP saga. It is a testament to a team that, against all odds, turned a symbolic £1 into a priceless championship triumph.

  • Little Ships on BBC

    Little Ships on BBC

    To mark the 70th anniversary of the ‘miracle of Dunkirk’, 50 of the surviving ‘little ships’ which made the original perilous cross-channel voyage returned to France. Dan Snow presents the programme on BBC2 and BBC1.
    Original music score by Philip Sheppard.
    [tweetmeme source= ‘@PhilipSheppard’ only_single=false]
    If you would like to download some of this soundtrack, join my mailing list here and I’ll send you the link.

    [soundcloud url=”http://soundcloud.com/radiomovies/sets/little-ships” params=”show_comments=true&auto_play=false&show_playcount=true&show_artwork=true&color=4d3d7a” width=”100%” height=”185″ ]
    Here’s the wonderful JB Priestly talking about the Little Ships

    Broadcasts: Thu 3 Jun 2010 21:30 BBC Two, Sat 5 Jun 2010 19:25 BBC Two, Mon 7 Jun 2010 00:20 BBC One.
  • Pssst! pass it on….

    This animation is pretty gory.. but cool. When it gets to the more gothic 3rd section you can hear a piece of mine called keep walking…

    If you like it – the full track is below plus the link to the mp3 if you’d rather hear it on your personal gramophone!

    [wpvideo AWtyQOwh]listen to the full length track here:[Audio http://radiomovies.files.wordpress.com/2009/03/pssst.mp3]

    This from BoingBoing:

    In “Legends of Exos” we are launched into a psychedelic land of stained glass, tracking a warrior on his way to battle. His attack segues into a lovable world of fuzzy woodland creatures but concludes with a finale that Burton fans will find comforting.

    PSST!3 Pass It On is collaborative film project is composed of 17 films made by 51 teams of directors and animators from around the globe. Each film is broken into three parts — beginning, middle, and end — and each part is created by a different team.

    download mp3

    PSST PASS IT ON WEBSITE

  • Harrison's Chronometer online

    New tracks added!chron1

    There are some new tracks added this week from past albums including Harrison’s Chronometer which I released as the other track on the EP length Glass Cathedral album, way back in 1999.

    You’ll find them all in the sidebar to the right under Pages, including The Diver in the Crypt and In-I stage show.

    Soon to come… the score of Sacred Monsters, (the Sylvie Guillem Akram Khan dance piece) and a very weird piece I wrote about the Venetian Underground System…

  • radiomovies latest round-up

    Carceri III The round tower - Piranesi
    Carceri III The round tower – Piranesi

    radiomovies latest round-up

    So… The Jane Austen lovers have come out in force behind a certain piece of piano music, In-I has opened at the Sydney Opera House – and the score / soundtrack is now online here and Channel 4 are to shortly announce the transmission dates of David Starkey’s new series on Henry VIII – the Mind of a Tyrant.

    Excitingly.. for me anyway, I found the one Jeff Buckley bootleg recording I’ve been looking for for years.

    Meanwhile I’ve started to put my albums online. I realised that it was ten years since I recorded The Glass Cathedral, and so I’ve decided to release it as a one tune radio station.. okay, so it’s actually a webpage with a Piranesi engraving and a tune… but, as with the dance scores, i like the idea of people being able to dial it up and listen. A lot of people have paid to see concerts, films, shows – for which I’m really grateful… why should I ask people for more money, and anyway, what’s wrong with giving the odd tune away?

  • How to be a composer for new media

    Tips for breaking into the covert world of composition for new media, such as film soundtracks, TV, adverts, arranging and games.
    [digg=http://digg.com/music/How_to_be_a_composer_for_new_media_tips]
    How get on the path to becoming a film, television, web or games composer

    Music technology tips by Philip Sheppard February 2009cimg05732

    (These are key points from lectures I’ve given recently, and a recent article for Classroom Music Magazine)

    1. WORK really hard. Work harder than anyone else you’ve ever met.
    2. If you don’t love working really hard you won’t enjoy being a composer (and believe me, it’s a great job)
    3. Ask people to show you how they do what they do. No composer minds being asked how they put a track together
    4. Learn how sound works – if you study the physics of sound, you’ll be more likely to be able to shape it into agreeable forms
    5. Make a portfolio of what you do. A showreel can be virtual – myspace is a start but can look fairly horrible. WordPress is excellent as a shop window
    6. Specialize in something unique. A small business advisor will call this your USP – Unique Selling Point. (I got into the business by doing leftfield things with string instruments)
    7. Always work with people who are better than you. I do, and I hope they can’t tell. this keeps me on my toes, and I learn from every job
    8. Network network network… but in a cool way. If a player writes to you asking for work, it’s less appealing than if they write to invite you to a gig isn’t it? A mailing list/website with news and forthcoming events is a surefire way for people to see how busy you are. Once you’re seen to be terribly busy, this will attract more work. this sounds like a catch 22 – but it isn’t. You are likely to be self-employed, so employ yourself now!
    9. Listen emotionally, analytically and critically to everything. If you love a piece you hear, try to work out why you love it. Dissect it into its elements. Equally if music doesn’t move you or grab you, try to work out exactly why.
    10. Always carry a bit of manuscript paper with you (or a dictaphone if you don’t read music). Moleskine do really nice pocket manuscript books. Your best tunes will always hit you when you’re not looking for them
    11. see point number one…
    12. Coffee is your friend and enemy. Keep it close, but use it wisely.

    How I got into it all…

    I trained as a cellist at the Royal Academy of Music where I have been a cello Professor since about ’94. I had several composition lessons there as a second study, studying with Melanie Daiken, before second studies were abolished! However, by that point I was heavily ensconced in the Contemporary Music scene.

    Luckily the RAM had a policy of drawing in great living composers, so I was able to play under Berio, Tippett, Messaien and many other truly inspiring musicians. At the same time I felt compelled to start improvising, and joined a quintet with Keith Tippett which specialised in ‘spontaneous composition’. At this point I learnt the value of knowing when not to play…

    I’m motivated to write music that I’d like to hear – which sounds obvious and a bit selfish, but, it’s a pretty good filter.

    My ‘break’ into composition came when I tried to multitrack some pieces on the cello, was encouraged to put them on a CD, that sold well and found its way onto the desk of an ad agency who threw me in at the deep end to devise the ident music for a major broadcaster… which was a learning curve, and a great break.

    Pros and Cons:
    Pros – I love my job. Every day is different. I can be based at home and still write and record (very different from my former touring existence). I meet really exciting people – last year it was 5 moonwalkers in one day.
    I’m my own boss. I can be creative and still be working.
    Cons not many.. Very late nights – but, I love working late. Oh yes – developing a studio tan (that’s very very pale) and having a habit of buying a new Mac every year and convincing myself I really need it.

    Good luck…

    ©Philip Sheppard 2009