Golden Age Music

Ashwin asked : could u comment on the music of the film…im really eager to know how and what kind of music a r rahman has made and when the soundtrack will release…thanks 🙂


Aswin, the music for Golden Age is being co composed by A R Rahman and Antonio Pinto. For those that don’t know :
Antonio Pinto is very famous for his incredible sound track for the film City of God. He has also composed for films like Behind The Sun, and also partly composed for Collateral.
A R Rahman is one of India’s most famous and prolific young composers. He has probably, in his short career, composed over 150 no 1 hits. In the West he is mostly known for the score of the hit West End musical, Bombay Dreams, and lately for the staged musical of Lord of The Rings.
I am really excited by the idea of both of the Composers working together. The come from two totally different cultures and imagine them composing for a film about a great English Queen ! Some of the compositions are very exciting. Rahman’s very spiritual in their Easterness, and Anonio’s exciting rythms almost dark and provocative.
I look forward them sitting together. So far they have not even met !
Shekhar

4 Responses to “Golden Age Music”

  1. Heather says:

    Dear Shekhar
    That Rahman is involved is almost as good to hear as the fact of your directing the film. Thanks very much for making this happen.
    love, Heather

  2. Cinda says:

    Thank you for sharing this information Shekhar. It “sounds” like the track is going to be one of deep mysterious melodic tones that reach into the soul’s historical journey.
    …wish I could sit in on the recording sessions. I’ve experienced many as a child and teenager, but not lately. The closest I came was this weekend for the Carnival here in Toronto, a sneak peek at Caribbean Legend, Byron Lee, he was at the mixer during the concert…mesmerized and almost obsessed with “every single sound that was projected from stage”. Kindly enough, he paused for about 15 seconds or so to autograph a flag and shake hands with me…little old me!
    Anyway, as I stood there, with my sister Carol, and watched…my Dad came to mind. The intense concentration and discipline was incredible…just like my Dad was.
    Looking forward to hearing the music in this film…hope there’s a taste of tablas somewhere to be found…hehehe
    In Spirit,
    Cinda

  3. Bill says:

    Dear Shekhar,
    On July 17, I sent the following e-mail to Justin, after he presented a scene from Shepperton Studios, a full size reconstruction of Raleigh’s ship ‘Tyger’:
    Justin,
    “Wooden Worlds”, as we know from Shekhar’s comments on set design, are organic and transient (as human flesh) and do not last like stone. But the ship is on water and water erodes stone and outlasts it. Boats always denote a spiritual journey, possibly death, and passage to another realm (and what is the body if not passage from this life?).
    Justin, your closing question is interesting and, I suspect, has more to do with navigation than luck. What cruise, or journey, are Raleigh and Bess on? Where have they been? Where are they now (this transient/wooden ship)? Where are they headed? What do the stars say? Can they defy them (their destiny)? How does the orrery reflect in the sextant today?
    Bill
    Shekhar,
    In your “Elizabeth”, stone was a major theme in set design as well as characterization, especially the transformation, at the end, to the white makeup and costume design (similar to the statue of the Virgin Mary).
    Does stone and wood also play a metaphorical role in “The Golden Age”? And given all the wood in the ships, is there a metaphor of the ships being organic or transient as well? Does stone play a role? Or has the approach to set design changed for “The Golden Age”?
    By the way, congratulations on the commencement of production for “The Golden Age”!
    Bill

  4. Sushma says:

    Dear Mr. Kapur,
    Mr. Pinto and Mr Rahman haven’t met as yet, but have been working on certain parts of the movie on their own, is that right? Back in May Mr. Pollard mentions how ARR’s music is being used for the execution scene of Mary, Queen of Scots; hence the question.The post on the execution was one of the longest and most eloquent. Looking forward to the whole deal. How did you decide which part of the score would be done by who? Basically, what’s the system?
    Regards,
    Sushma

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