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Trent Reznor and Atticus Ross won not one but two Oscar nominations for Best Original Score this morning, for “Mank” and “Soul”. These films, along with their score for the HBO series “Watchmen,” conclude a string of “pretty disparate plans” for Reznor and Ross, and although both men say the nominations are “humiliating” and “flattering,” they are. really just an itch for one thing: getting back in front of the crowds to play the role of Nine Inch Nails.
“Usually when we finish a tour we both have had enough,” Reznor told TheWrap on Monday. “Now that I can’t get out it has triggered the teenager in me who desperately needs to get out, and I can’t wait to get back to complaining about how long a bus ride takes or complaining about the toilet.” behind the scenes and all that. things. God, that sounds good.
Reznor and Ross are no strangers to the Oscars; in 2010, the duo won the Best Original Music category for their work on “The Social Network” by David Fincher. This time around, they provided witty and spatial sounds for Pixar’s lively “Soul” music and vintage big band-inspired music for the period drama “Mank” – but despite the contrast, the sheet music has more to it. common, thank you one might think.
Read also: How Trent Reznor and Atticus Ross Became 1930s Music Lovers for ‘Mank’
“Whether it’s a synthesizer or an orchestra, they’re tools for delivering emotion,” Ross said. “I can recognize a certain aesthetic through all of the work, just because of who they are, the way you are you and you have your own experiences in the way you communicate. There is a common thread between a single experience of life. “
Reznor added, “The magic, the part that makes us love what we do, is being able to immerse ourselves almost subconsciously into the story, into the character and the feeling, and then tap into that emotion using the tools that we do. have already thought. about. That feeling of connection is the same thing we try to do when we write a song in Nine Inch Nails, which is about connecting emotionally with yourself, feeling this thing, bringing it to life. It was very similar between all these projects. “
“Soul,” in particular, was a special case for Reznor and Ross, who had been tinkering with the score for years and knew early on that they wanted to collaborate with Jon Batiste (also nominated) on the film’s jazz arrangements.
Read also: Trent Reznor and more on film rating during COVID: ‘Like trying to be intimate in Hazmat costumes’
“Immediately there was a warmth, openness and generous spirit of collaboration where, ‘Hey, let’s share everything we’re doing and see if anything motivates or inspires the other and just stay on top of how it is. unfolds, ”Reznor said. “And Jon is such an amazing musician. There is this innate understanding. It’s rare in people, and if you meet it, it’s really inspiring – someone innately understands what you’re trying to do and can, without even really discussing it, put themselves in a piece of music and bring it to life. You can tell that they bring their own experience and their own skills. Jon really has that and it’s a pleasure to work with.
Reznor and Ross said they never embark on a project with the thought of rewards in mind, but admitted that it’s certainly nice to be recognized by their peers – even in a year when “everything doesn’t seem to be everything. quite real ”.
“When we finish these movies, we look at each other and say, ‘It’s really good, we are proud of this work, we feel that we did our best here and we surprised ourselves.’ And this moment, which happens long before anyone sees the movie, is what we’re aiming for, ”said Reznor. “It’s not about the melody or the theme that comes up intelligently. It’s about knowing when you got it right because you have goose bumps. I hope the director agrees with you, otherwise he is wrong in this case.
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