The Fountain (soundtrack)
The Fountain: Music from the Motion Picture |
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Soundtrack album by Clint Mansell with the Kronos Quartet and Mogwai
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Released |
November 27, 2006 (2006-11-27)
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Recorded |
- Mogwai: December 2005, Castle of Doom Studios, Glasgow, Scotland, United Kingdom
- Choir: January 8, 2006, Right Track Studios, New York City, New York, United States
- Kronos Quartet: January 2006, Skywalker Sound, Nicasio, California, United States
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Randy Kerber: February 2006, Capitol Recording Studios, Hollywood, California, United States
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Genre |
Contemporary classical |
Length |
46:21 |
Language |
Instrumental |
Label |
Nonesuch |
Producer |
Tony Doogan, Geoff Foster, and Scott Fraser |
Clint Mansell chronology |
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Kronos Quartet chronology |
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Mogwai chronology |
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The Fountain: Music from the Motion Picture is the soundtrack album to the 2006 film The Fountain directed by Darren Aronofsky. Released on November 27, 2006, through Nonesuch Records, the album is a collaboration between contemporary classical composer and frequent Aronofsky collaborator Clint Mansell, classical string quartet the Kronos Quartet, and post-rock band Mogwai. The score received mixed reviews from critics and was nominated for several awards.
Clint Mansell—the composer for Aronofsky's previous films Pi and Requiem for a Dream—reprised his role for The Fountain. The San Francisco-based string quartet Kronos Quartet—who previously performed for the Requiem for a Dream soundtrack—and Scottish post-rock band Mogwai also contributed to the film score. Darren Aronofsky hoped that David Bowie—whose song "Space Oddity" helped influence the film's space traveler storyline—would record a song when the musical artist worked briefly with composer Clint Mansell during production. Aronofsky planned for Bowie to rework pieces of the score and to vocalize them, but the plan was unsuccessful. After the score was completed, Nonesuch Records, the home of The Fountain musical contributor Kronos Quartet, released the soundtrack on November 21, 2006.
Mansell researched possible scores to compose one tying together the three storylines. He sought to have an organic feeling to the score and explored implementing orchestral and electronic elements that would have "a real human element to them that breathes". Contrary to most films' scores composed in post-production, Mansell's score was composed concurrently with the film's production; he created a mood that flourished as the film progressed. The composer described the parallel process, "It's instinct and listening to what the film is telling you it needs".
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