The Brothers Strause tapped into the perfect rhythm for Skyline [In theaters Friday November 12, via Rogue Pictures].
In fact, Greg and Colin Strause chose to fuel their latest film with the likes of 30 Seconds to Mars, Royce Da 5'9 and The Crystal Method, creating the perfect sonic companion to all of Skyline's mind-bending action and viscerally vibrant visuals.
From the first frame, Skyline explodes with an uncontainable energy that makes for an unforgettable ride. In the film, The Brothers architect an alien invasion like you've never seen, beginning with beams of light in Los Angeles and culminating on something much more terrifying. It's pulse-pounding science fiction at its best.
Music proves crucial to every aspect of the film, and The Brothers even picked some genuine gems off their own iPods for this one.
Greg Strause sat down with ARTISTdirect.com editor Rick Florino for an exclusive interview about choosing the tunes for Skyline. From texting with Jared Leto about "Kings and Queens" to on-set performances, he shared all kinds of great stories about picking the soundtrack.
Don't miss Skyline when it invades theaters on Friday November 12!
Were there any artists or songs that you instantly thought fit Skyline?
Yeah, the biggest artist was 30 Seconds to Mars. Jared Leto and I were texting back and forth about the film. He saw the trailer, and he has that song "Kings and Queens" on the band's latest album. We'd been suggesting his music to the studio for some of the advertising. I was like, "Why don't I just talk to Jared about getting a track for Skyline?" So we ended up working it out, which is great.
What sequence is "Kings and Queens" playing over?
It's near the beginning of the movie just when we meet Jarrod [Eric Balfour] and Elaine [Scottie Thompson]. It's a traveling sequence, and the song is the soundtrack throughout the scene. It fits really well.
What inspired some of the other music?
There's another character in the movie named Terry [Donald Faison], and we wanted to get some hip hop for a few of his scenes. We wanted something with more of a West Coast feeling though. One of our producers, Kristian Andresen, had some friends in that world. He had connections to Royce Da 5'9". Because of that, there are a couple of Royce tracks in the movie. One of them is brand new too.
This soundtrack definitely illuminates the power of networking.
[Laughs] It's funny because we used every personal connection we had to stock the movie up with music. One of the guys here is friends with The Crystal Method, so there's a couple of Crystal Method tracks in the film as well. We were using some of our music video contacts from back in the day and people we'd met over the years. Jared's a guy who we'll help with effects for his music videos. There's a good synergy between us and the musicians. Even though we're a small indie and we had a tiny music budget, we were able to get some names and really great tunes.
In general, how important is music to film for you?
Music is huge! The sound is just as important as the picture. A scene that could play one way with the wrong music could be great with the right music. There are a lot of times where music carries the picture, so it's extremely crucial.
Did it especially contribute to Skyline's rhythm?
Yeah! The first half of the movie has contemporary music whether it's rap, The Crystal Method or the good old fashioned rock songs of 30 Seconds to Mars. The whole back half of the film is tradition orchestra score from composer Matthew Margeson. Alex Sargent is the daughter of one of our producers, and she wrote "Hiding Out" specifically for the film. She read the script, and it inspired her. She composed an absolutely stunning heavy rock track that we put in the middle of the movie. It has a great hook to it! Alex actually came on set and played "Hiding Out" live for us, and we were just blown away by it. To come in front of the crew with an acoustic guitar and play a song takes a lot of balls [Laughs]. It was fantastic though.
Is choosing the music particularly fun for you?
There was no contemporary music at all in our last film, so it was fun getting into it on this. It's exciting! Usually being on the indie side of it is one strike against you when you're trying to play in the world of licensing music for movies. It can get expensive. We were pretty thrilled with how it all came together.
—Rick Florinofonte:artist direct /jared leto online
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