Max Richter

Mm-hmm.

Max Richter.

It's been used in everything.

Everything.

So we'll go back to these community picks real quick.

Next up is On the Nature of Daylight by Max Richter.

I don't know that song.

Yeah, not ringing a bell.

Because she gave me the metaphor.

So I put on my iPad of Max Richter music from that theme music to Arrival called The Nature of Daylight.

And I said, I'd like you to take some deep breaths in and hold that breath.

And as you breathe out, perhaps you can imagine breathing out all of your cares, worries and fears and insecurities down your chest, down your legs, off the trolley and out the door.

So even, you know, when I'm scripting, like new concepts, when I'm shooting, when I'm editing, it's all to music.

And generally to Max Richter.

who the mood of his music has this bittersweet quality that puts me emotionally in the right place for the emotion of what I'm trying to seek within my images.

A bittersweet quality of both melancholy and hope.

So, but I, and I understand that thought process and then it's, you know, just discovering, finding your own voice, but I feel like that's just kind of a lifelong discovery.

Do you, do you feel that way too? I mean, of course people have styles, you know, that people, other people can recognize, well, that's Max Richter, you know, for instance, everybody knows Max Richter style, you know, and it's great, but I don't know.

And I'm sure his style is going to, going to, continue to evolve as well.

But anyway, how does it feel when you hear other people perform your work? And then how does it feel when you perform your own music?

I mean, I don't like Hamlet as a film, but there's a performance on stage of Hamlet in which the ghost of the dead child is kind of hanging over the whole thing, and then Hamlet is dying, and then Jesse Buckley's character is watching it, and it's so moving.

And suddenly, and it's got a score by Max Richter, right? Max Richter, who writes an amazing score, one of the great composers of our time.

And suddenly they start playing On the Nature of Daylight, and you go, No, no, no.

And of course, Max Richter had written a piece for that scene.

But Chloe Zhao said, no, no, I think On the Nature of Daylight is the best idea.

And apparently it was Jesse Buckley who suggested it.

I want to use them simply as examples of something larger, and that is music's extraordinary capacity to move us.

One of my recent musical passions is a style described rather loosely as minimalist or neoclassical, and includes composers and musicians like Einaudi, Philip Glass, Max Richter, and many more.

So it's this style of music that came to me immediately when I thought about doing this topic for this service, music that, for me, can sometimes engender a sense of reverence and really take my breath away.

Now, I can't give you a sophisticated analysis of its harmonic structures, or frankly, even an unsophisticated one, but I can tell you what I experienced when I listened to a piece like Nouveau Les Bianques that Frank played for our prelude.

suppose that's probably true.

Did you know? The classical music piece that bookends the film is On the Nature of Daylight by Max Richter.

Its prominence during the film and the fact that it was a pre-existing track meant that Johan Johansson's score was deemed ineligible for an Academy Award despite being highly acclaimed.

Too bad, because I really enjoyed that opening, and I guess the technical, the closing soliloquy.