Dredd: Paul Leonard-Morgan talks soundtrack - Listen here
Story by Jack Foley
2000 AD’s Dredd explodes onto the big screen this September, with BAFTA-winning British composer Paul Leonard-Morgan (Limitless, Spooks) creating the sound of Mega City One’s feared Judge.
The 22-track soundtrack to the forthcoming movie Dredd (3D) is released digitally worldwide on September 3, and physically on September 10 through Metropolis Movie Music/Fontana International.
Dredd, starring Karl Urban (Star Trek, The Bourne Supremecy, Lord Of The Rings), Olivia Thirlby (Juno) and Lena Headey (Game Of Thrones) was written by Alex Garland (28 Days Later, Sunshine) and directed by Pete Travis (Vantage Point).
Dredd (3D) will be released in the UK on September 7.
Paul Leonard-Morgan is best known for his score for last year’s box office No 1 hit Limitless starring Bradley Cooper and Robert De Niro, and directed by Neil Burger.
Previously he had been the composer for the BBC’s award-winning drama Spooks.
Leonard-Morgan was also honoured by the US Olympic Committee when chosen to compose the official US Olympic Team Anthem (previously scored by John Williams) and was also commissioned to compose the music for the official launch ceremony of The Freedom Towers, the iconic designs which will eventually replace the Twin Towers at Ground Zero.
Speaking about the Dredd soundtrack, Leonard-Morgan said: “From a music point of view, I wanted to create a sound which fitted a future set in 100 years time, so traditional orchestra was out of the question. I started off doing some band-based stuff, but it felt too safe and overly-produced, so I ended up going down a really electronic vibe – taking all my 80’s synths and present day sound modules, creating some really screwed up sounds and putting them through countless distortion and fx pedals.
“I was looking to create a timeless score which couldn’t be placed in any particular era. So, it’s ended up being a cross between a modern dance track and evocative soundscapes.
“For the slo-mo music, I used this incredible new timestretch software called Paul. I composed and recorded new tracks with real instruments, and then slowed them down by thousands of percent to match the vibe of the visuals, adding some realtime score over the top of it.
“So 1 second of written score could end up lasting 10 minutes. It sounds weird, but it creates some truly beautiful sounds. Really ethereal. It takes you to a completely different world. Getting to do experimental things like this in a film score isn’t something that happens every day, so it was really exciting pushing back the boundaries.”
Listen to this soundtrack sampler: