ENNIOMORRICONE.IT

Morricone has "given" his son Andrea the composition of the new Giuliano Montaldo's film "L'INDUSTRIALE", starring, as main characters, Carolina Crescentini ( once again with Montaldo after I demoni di San Pietroburgo ) and Pierfrancesco Favino ( La sconosciuta, Bartali, Pane e liberta'...). The film will be present at the next Mostra Cinematografica di Venezia and out in the cinemas in autumn.

Montaldo has insisted so much because it were Ennio himself to compose the music for a film of his one more time, but Ennio preferred to give Andrea this work. Anyhow, a direct Ennio's involvement isn't excluded...let's say that he could have "lent" Andrea some themes also if his name will not appear close to his son's one.

The reason why Morricone has refused the work is due, besides other things, surely to Giuseppe Tornatore.
Tornatore, last week, besides having confirmed that he will do "LENINGRAD" at the end of 2012, has also announced that, before devoting himself entirely to the kolossal, he will make another one film, working title "THE BEST OFFER". For the moment, not a word about the sceenplay, the actors...
Tornatore, if everything goes well, will start his new film at the end of this year. This means for Morricone to start to work about this film immediately after summer, before starting next year to work about what I think will be "The masterpiece" of his whole life: LENINGRAD.
For LENINGRAD, Morricone will need, at least, one year of hard work or maybe more...not the usual two/three months. Baaria needed eight/nine months of work.

But Morricone, after summer, has surely two more films to work about and maybe a third one too...so, at the end, the rejection of L'INDUSTRIALE is more than understandable.
When there's Tornatore in, everything else becomes secondary for Morricone. In fact, due to Baaria, he refused Tarantino's film...
Regards, ATK

Thanks for the information...has Andrea been working as a film/TV composer in 2009-2011 ??

The only one tv films he composed the music for have been LA DONNA DELLA DOMENICA (2010) directed by Giulio Base and broadcasted on RAIUNO last spring and THE VATICAN INSIDER directed by Luca Bellino ( SKY tv 2011). Nothing else for the tv. See the post in ULTIMO, L'OCCHIO DEL FALCO section: there are the last Andrea's works.
Ciao, ATK

Hello, specially to Italian members,

I saw on internet that L'INDUSTRIALE is released in theatres since January 13 of this year :
http://www.dagospia.com/rubrica-2/media ... -34354.htm

Even if it is Andrea who signed the music, when some of you have watched this movie, feel free to give some impressions.
Thank you.
Patrick

You know DAGOSPIA? Nice!!!!!!!
Italian members??? Which ones? You preach in the desert...you know: ATK is the only one survivor...

Anyhow...no, I haven't yet seen L'INDUSTRIALE and I'll not be able to see it because I'll be far from home for a long time. Unfortunately, I'll not be able to see neither ULTIMO...I'll do it when I'll be back.

I think that you are interested to the soundtrack. It's a remarkable work.

Andrea is becoming a very good composer, but this forum doesn't seem to me the best place to talk about him, because it seems that nobody has a real interest to his compositions also if - in many cases - they could be confused with his fathers ones...so if someone likes the father, should like the son too.

You can find the trailer on U tube...I know, too little to imagine the music.
For what I have heard, maybe that the cd will be issued...maybe.

ATK

On the contrary Altnikol, I am - and I am sure others are - very much interested in Andrea's work and his progress, if that is the right word. Feel free to discuss any topic Andrea-related - we appreciate your views.

It cannot be easy for Andrea living and working in the shadow of such genius, and so brave of him to go into his father's difficult field - with the other children choosing directing, and also medical and legal I think, not 100 per cent sure from memory.

But of Ennio's children I take my hat off to Andrea - he is on a "hiding to nothing", as we say in England, by pursuing musical composition.

I hope that he goes from strength to strength, notches up some decent scores and gets a reputation all of his own, which in turn expands his work offers. It is a shame that with his move to the US the work projects did not seem to readily pour forward, so, with the additional leg up from his father this time, let us hope his talent can, in time, stand alone and be recognised by the world film producers.

Now that BEST OFFER intrigues me.
Morricone has always been forthcoming about his assignments. "I'm doing a Negrin film or a Tognazzi film or a film about ANNE FRANK" he would say.
But one guy who likes to keep the details of his films under wraps is Quentin Tarantino. He wouldn't be above asking Morricone to keep this quiet and come up with a fictitious name to throw off the scent. When he had to refuse INGLOURIOUS BASTERDS because of scheduling conflict with BAARIA Ennio said he liked Quentin and would be open to working with him in the future. Another guess I would make is if Quentin would use Morricone on this western he would work Leone style and have him do temp tracks or actual cues beforehand to use as playback on the set. This is all conjecture.
But one thing is for certain. BEST OFFER is either the Tarantino film or he isn't doing it at all since, as Altnikol tells us, LENINGRAD will take up all his time. I am leaning toward DJANGO UNCHAINED being "the best offer".

Henry!

The Best Offer is a film by Giuseppe Tornatore. See the thread L´Offerta Migliore a new soundtrack by Morricone.

Kind regards
Mathias

Dear KP,
your kind words will be forwarded to Andrea.
He will be very pleased to know that his work is appreciated.

Have you listened to Andrea's track A SLUM SYMPHONY (see my recent reply to Mathias in L'OFFERTA MIGLIORE section)?

Altnikol

Hi Alt
Yes, I did indeed listen to a Slum Symphony, Andrea Morricone.
I listened to it several times. A wonderful theme of great maturity. Clearly, as you say, hints and origins in OUATIAmerica, but different enough to have its own identity. There are enough Ennio flourishes there - the orchestration, the unhurried strings, and especially the long note at 1.40 for 8 seconds - its fair to to say that Junior has absorbed a lot of clever moves from the Grand Master!!

I'm not sure if Andrea would see it as a compliment to say that if this music was posted on here without a credit we would all be saying definitely Ennio Morricone composed it!
I liked it. Very much.