Nathan Johnson | |
---|---|
Born | 1976 (age 40–41) Washington, D.C. |
Occupation(s) | film composer, director |
Associated acts | Son Lux, Lucius, Faux Fix, The Cinematic Underground |
Website | nathanj.com |
Nathan Tyler Johnson is an American film composer, director, and producer.
He was born in Washington, D.C. in 1976 and grew up in Colorado. After living in England in the mid-2000s, Johnson relocated to the East coast of the U.S., where he launched a live touring project with his band, The Cinematic Underground. His work with the band opened up doors into film composing, and his first musical score was for the award-winning film Brick.
In 2005, Johnson composed the score to the neo-noir film Brick, which was written and directed by his cousin Rian Johnson. The score features traditional instruments such as the piano, trumpet and violin, and also contains unique and invented instruments such as the wine-o-phone, metallophone, treated pianos, filing cabinets, and kitchen utensils. The entire score was recorded in Johnson's Bournemouth apartment using a single microphone and a PowerBook computer. The score was hailed by The Chicago Tribune as "perhaps the most arresting soundtrack of the year to date" and Johnson was nominated for the Satellite award for Best Original Score from the International Press Academy.
Johnson finished the score for Rian Johnson's second film, The Brothers Bloom (2008), expanding the palette used in Brick to include strings and woodwinds for the sound of a "back porch orchestra".
Members of The Cinematic Underground have been involved with all of Johnson's scores. As well as producing the music for Brick and The Brothers Bloom, Johnson has produced albums for The Cinematic Underground, Katie Chastain, and New Volunteer.
In 2012, Johnson composed the score for Rian Johnson's critically acclaimed third film, Looper. Much of the score was created using found-sounds and field recordings, which Johnson recorded while on location in New Orleans as the film was being shot. He and his team incorporated treadmills, industrial fans, and slamming car doors, along with a more traditional orchestral ensemble, and he received the IFMCA Breakthrough Composer award for his genre-bending work on the film.