One Week DVD Review

One Week

http://oneweek.ca/

http://www.mongrelmedia.com/dvd/info.cgi?id=1441

On DVD: June 16th, 2009

Rated PG-13 for brief strong language.

Running time: 97 minutes

Michael McGowan (dir.)

Cast: (in order of appearance)

Joshua Jackson as Ben Tyler

Peter Spence as Doctor

Gage Munroe as Young Ben

Liane Balaban as Samantha Pierce

Fiona Reid as Mary Tyler

Chuck Shamata as Gerald Tyler

Caroline Cave as Nancy Tyler

Campbell Scott as Narrator

Joshua Jackson as Ben in One Week.

Our reviews below:

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One Week DVD Review By John C.

**** (out of 4)

Read Original Theatrical Review Here

One Week is the story of Ben Tyler. From the opening scene when he's told he has stage 4 cancer, we know this won't be a conventional film. So before he starts any treatment, he decides to take a motorcycle trip. What was meant to be a two day trip, turns into a one week quest for the west, from Toronto, ON to Tofino, BC.

One of the things that makes One Week so perfect is the narrator. The narration is simple, profound and very funny. It's also one of my favorite things about the film. Another perfect element is the beautiful scenic backdrop. The filmmakers weren't confined to any spaces, so they used part of a whole country.

One Week is quite simply a Canadian masterpiece. Don't rent this DVD, buy it. One of my favorite films so far this year. The special features on the DVD include a making-of, an interview with director Michael McGowan, a Q+A with the director and Joshua Jackson which was filmed at the Varsity theatre (when they attended a screening of the film on March 5th), a photo gallery and the films theatrical trailer. This all adds up to about 40 minutes. There is also director's commentary with Michael McGowan.

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One Week DVD Review By Erin V.

**** (out of 4)

Read Original Theatrical Review Here

One Week is the story of Ben Tyler, a writer who as he has grown up has lost his dreaming trait that he had as a child. When he finds out that he has stage four cancer, something reawakens in him, and he feels an overwhelming urge to see the country that he lives in. Engaged to be married, his fiancée - being an actuary - does not understand his need to take a 'vacation' rather than seeking treatment as soon as possible. But what he wants her to understand is that he needs to truly live before he becomes a patient, too sick to do anything. As we are told through the perfect narration, everything happens for a reason. From his canceling his appointment at the hospital, to taking what seems like a simple picture for tourists.

One Week holds up just as well for me as it did on my first viewing in theatres. I had been waiting to see this one again, and I am so glad to now have it on DVD. In my original review, I said that this movie succeeds in showing the natural beauty of Canada. Watching it again, it is amazing just how many shots of this film could be postcards - that is Canada for you, and I am just glad that the cinematographer used so many amazing landscape longshots. I still find the choices of music in this film to be spot on, and Andrew Lockington's score matches the songs well. You can hear the music online at One Week's official site.

This is a movie that shows that sometimes we just need to have the adventure, that we always dreamed of having as a child - before life took over. The question is, do we want the adventure, or to run from our fears? The premise of the need for adventure and to escape the world by seeing another part of it, reminds me slightly of some elements of Up, now that I've seen that movie. Interestingly enough, as of now, both One Week and Up are on my top 10 list for 2009. Both in the top 5 currently... I wholly recommend them both. Here is my advice: Buy One Week for Canada Day.

The DVD has several extras. A making-of featurette, an interview with director Michael McGowan, a Q & A with Michael McGowan, and lead Joshua Jackson, a photo-slideshow, the theatrical trailer, and a commentary track for the film. After watching everything but the movie with commentary, I must say that I am happy with the approximately 35 minutes of extras on the disc. It was fun to see in the making-of featurette that just about - if not all - of the small crew had an appearance as an extra in the film.

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One Week DVD Review By Nicole

**** (out of 4)

Read Original Theatrical Review Here

One Week is a beautiful film that celebrates Canada. The movie follows Ben, a terminally ill young man, and his journey going across Canada on a motorcycle.

There is about 35 minutes of bonus features on this DVD, as well as well as directors commentary. The "making-of" featurette is decent, and shows what inspired the film, as well as how it was shot and cast. This featurette also shows how Andrew Lockington was inspired to write the score. The interview with the director and crew talks about what the film means to them. This segment is also really good. The One Week screening: Q+A with Joshua Jackson + After Party is really funny. There is also a theatrical trailer, as well as a photo gallery. One Week is an excellent movie, that is worth owning on DVD. just in time for Canada day, but great anytime of the year.

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One Week DVD Review By Maureen

**** (out of 4)

***1/2 (for the DVD)

Read Original Theatrical Review Here

I loved One Week when I saw it in theatres and I like it just as much, if not more on DVD. Watching One Week again is like going through an old vacation photo album or slideshow. Yes, you've seen the images before, but they make you smile everytime you see them again. The road trip the main character, Ben makes from Toronto to the Western coast is wonderful to see.

Overall, this is a really nice movie. It's a story of hope and a wonderful tribute to the stunning beauty and many quirky tourist spots that make Canada unique.

The One Week DVD would make a great Father's Day or Canada Day gift. It has enough extras to make the DVD interesting, but even if you don't get around to watching them, the movie itself is worth seeing again. Treat yourself to One Week. This makes a great summer watch.

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One Week DVD Review By Tony

**** (out of 4)

***1/2 (for the DVD)

Read Original Theatrical Review Here

The DVD has the usual extras, in English only: a director’s commentary track, a “Making Of” featurette showing the crew on their bus, various interviews, a trailer and some stills. My only criticism is that no French subtitles are available for those who like me prefer to listen to the original actors. However, from what I could hear in various scenes, the French dubbing is well done.

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Consensus: As said when we reviewed One Week theatrically, this is a film that celebrates being Canadian. Perfect for a Canada Day gift, this is one movie that if you haven't seen it in theatres, you definitely don't want to miss on DVD. ****

This Month’s Overlooked Film

Chosen by: John C.

Saint Ralph

Release Date April 8 2005

Rated PG-13 for some sexual content and partial nudity

Running Time: 98 min.

Michael McGowan (dir.)

Adam Butcher as Ralph Walker

Campbell Scott as Father George Hibbert

Gordon Pinsent as Father Fitzpatrick

Jennifer Tilly as Nurse Alice

Shauna MacDonald as Emma Walker

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Saint Ralph

Review By John C.

Saint Ralph is the story of a kid who dreams big. Ralph Walker is a 15 year-old boy growing up in Hamilton, ON in 1954. He is not an orphan, but his mother has been in a coma for quite some time, and his father has died. He dreams of running and winning the Boston marathon, because it would be a miracle if he wins, and a miracle is what his mother would need to wake up. The acting by the mostly Canadian cast is excellent, and it is interesting to hear the music of composer Andrew Lockington before he became more known for scoring films like Journey to the Center of the Earth and City of Ember.

It would be worth checking out this great little film before you go see One Week, director Michael McGowan’s latest film, which opened last Friday.

Is there a film that you think is overlooked? Drop us a comment below, or send us the name of the movie to onemoviefiveviews@hotmail.com

One Week

ONE WEEK

http://oneweek.ca/

http://www.mongrelmedia.com/theatrical/info.cgi?id=1441

Opens in limited Canadian release: March 6th, 2009

Rated PG-13 for brief strong language.

Running time: 97 minutes

Michael McGowan (dir.)

Cast: (in order of appearance)

Joshua Jackson as Ben Tyler

Peter Spence as Doctor

Gage Munroe as Young Ben

Liane Balaban as Samantha Pierce

Fiona Reid as Mary Tyler

Chuck Shamata as Gerald Tyler

Caroline Cave as Nancy Tyler

Campbell Scott as Narrator

Joshua Jackson as Ben in One Week.

Our reviews below:

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One Week Review By John C.

**** (out of 4)

“What would you do if you had one day, one week, or one month, to live?” Says the brilliant narration over the first scene of One Week. Ben Tyler has just learned he has stage-four cancer. Possessed by the urge to do what he feels he needs to do rather than what it would appear he should do, he sets out on what was meant to be a two-day motorcycle trip, but turns into a one week voyage for the west. From Toronto, Ontario to Tofino, British Columbia. As the rolls up rims on his Tim Horton's coffee cups, and tells some Newfoundland kids that he can’t assist them in finding the closest Canadian Tire, this is a very Canadian movie that probably won’t be watched across the border. But, in Canada it should be seen as a national treasure.

Every aspect of the film is Canadian. For once a film that has Toronto playing Toronto, and not standing-in for New York. The director, Michael McGowan, was born in Toronto, and also made Saint Ralph, which took place in Hamilton. Lead actors, Joshua Jackson and Lianne Balaban, are, respectively, from Vancouver and Toronto. The music, songs and score, are also all Canadian. The score, composed by Andrew Lockington who was born in Burlington, was recorded at the CBC on a piano that Glenn Gould played. There is a cameo by Canadian indie-folk artist Joel Plasskitt. You don’t get more Canadian than that.

The cinematography and scenery are breathtaking, and would make anyone appreciate our beautiful country. The aforementioned narrator works perfectly. Sometimes being profound and sometimes just mundane. I would place it as one of my favorite narration's, along with Stranger Than Fiction and Vicky Cristina Barcelona. We are told how one of Ben’s actions has unknowingly to him, affected and changed someone else's life, similar to the plot of a film like Magnolia. It makes us think that the choices the character is making are the right choices, even if they aren’t the obvious choice at the time.

One Week is at it’s heart a road movie, about one man taking a journey with his country. Canada is not just a background, but a second character, and it works wonderfully. Simple, yet profound, touching and moving, One Week is a timeless fable that should not be missed.

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One Week Review By Erin V.

**** (out of 4)

One Week is a very Canadian movie that is an inspiring piece of work. One Week tells the story of one week in the life of Ben, (Joshua Jackson), a man of in his 30’s engaged to be married, who finds out that he has cancer. Needing a break from everything, before becoming a patient, he spontaneously buys a motorcycle and what is intended to be 2 days to just get away from it all, becomes a quest to continue traveling west. Starting in Toronto, we see all kinds of Canadian landmarks along the way, as Ben journeys both across the country, and inside of himself.

The low key feeling of this movie was very fitting. The combination of the scenery, and the choices of songs made this movie something special. I believe that the director, Michael McGowan, said that he wanted to make a movie to show the beauty of this country, Canada. He has succeeded in showing the beauty of our country, as best as you can without seeing it for yourself. Watching this movie, as we travel with Ben across the country, it was amazing to see the contrast from the flat prairies to the rocky mountains. The depth in the theatre was amazing and there aren’t really words to describe seeing this wonderful country’s natural beauty on screen. I have never been out west myself, but it is one of my goals one day - to see this wonderful country from coast to coast myself.

I think what it was I loved about this movie was just watching everything together. The scenery, the landmarks, hearing the music, (original score by Andrew Lockington), and following this man’s journey across the country. He is looking for something that he must believe is there to have the strength to continue. I like the use of the narrator in this movie, sometimes narration doesn’t work, but here it does. We get a background of Ben’s life, not too much, but just enough to know where he’s at. The style of narration actually reminds me of the narrator in Vicky Cristina Barcelona. It adds something being there, that is hard to make work, yet both of these films succeed. Especially here, the narrator becomes a character in himself. This being said, all of the actors are really good in One Week. Great work from everyone involved here.

To finish up, some movies are easier to write about then others, and others you just know how you feel about the movie. I know how I feel about this movie - this is a work of art that I hope will have a wider release, so that more can enjoy and experience it for themselves.

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One Week Review By Nicole

**** (out of 4)

It is a real treat to see a film that is entirely Canadian. Such is the case with One Week. This movie is about Ben, a man who, in his prime, is diagnosed with cancer. He is terrified, and briefly contemplate suicide. (This scene is somewhat disturbing, so sensitive viewers may want to close their eyes.) When the reality of what is happening kicks in however, Ben decides to go on an adventure. His fiancée, Samantha, however, would rather Ben stay in Toronto, and start cancer treatment right away. Ben doesn’t listen. He isn’t ready to be a patient. So he buys a second hand motorcycle, and heads off to explore Canada. On his way, Ben is about to give up and head back, but two young men, and a “roll up the rim to win” Tim Horton’s cup saying “Go west young man,” encourage Ben to keep going west.

On his way, Ben sees many things. He visits all the big whimsical landmarks along the way, such as the Big Nickel in Sudbury. He also takes in the sheer beauty of nature, the trees, the vast wheat fields, the Northern Lights, the Pacific Ocean, and Canadian animals, such as elk, bears, moose, and humpback whales. Ben also meets people along the way, and every person Ben encounters is for a reason. Somehow, in some uncanny way, Ben is either touched by, or touches the life of each person he meets. When Ben finally returns home, he realizes what he really wants in life.

I really enjoyed this film. The narration, reminiscent of Vicky Cristina Barcelona, and is perfect for One Week. Much of Ben’s narrated inner thoughts are hilarious, and add a light feel to the film. The scenery in this movie is breathtakingly beautiful, and the score by Andrew Lockington is very gentle, and fits the mood perfectly. This movie reminds us all to slow down, and look at the beauty around us. After seeing this movie, I can’t wait to check out the rest of Canada. This movie is a little known gem that should definitely be seen.

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One Week Review By Maureen

**** (out of 4)

This movie is a real Canadian gem. The concept of what an individual would do if they knew they only had a short time to live in not unique. However, One Week is a uniquely Canadian look at the concept.

The movie opens with the main character Ben, (nicely played by Canadian actor Joshua Jackson), receiving a diagnosis of stage IV cancer. His first reaction is to imagine how he could end it all. Sensitive viewers might not like the close-up shot of his imagined death. This was the only part of the movie I didn’t like. His next response is to do what many of us might want to do - run. As he is running from the doctor’s office he stops at a garage where he decides to buy the second-hand motorcycle he had seen and thought about more then once. The movie gives us insight into Ben’s thoughts and his past through the use of a narrator. This device works really well in One Week. Some of the inner dialogue voiced by the narrator is laugh out loud funny without overshadowing the actual dialogue between the characters.

When Ben returns home from the doctor’s office with his new motorcycle, his fiancé Samantha, (also nicely played be Canadian actor Liane Balaban), tries to convince him to immediately start aggressive treatment of his cancer. However, Ben comes to the realization that he isn’t ready to be a patient yet and he needs to go on a motorcycle trip to sort out his thoughts. And in a typical Canadian moment, it’s when he ‘rolls up the rim’ of his Tim Horton’s coffee that he knows exactly what he needs to do - ‘Go west young man’.

Ben’s road trip from toronto to the west coast takes him to all sorts of Canadian tourist icons such as the Big Nickel and even a chance to kiss the Stanley Cup. The visuals on his roadtrip are beautiful. One Week has done a wonderful job in giving us a glimpse of how vast and beautiful Canada really is. The music be Canadian composer Andrew Lockington accompanies the trip in a nice low key way. I’m looking forward to the CD of this movie. Ben learns all sorts of things about himself and about what really matters on this roadtrip. The events that happen and the people he meets all connect and lead him and them exactly to where they need to be.

This movie is full of some really nice and some very funny moments. It never really moves into anything overly sentimental or sappy given the subject matter. The ending is satisfying and this viewer was left with a greater appreciation of Canada’s nature and character and the feeling that life really is meant to be experienced one moment at a time. I really like this movie and can’t wait to see it again. It makes me proud to be a Canadian and happy to be alive.

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One Week Review By Tony

**** (out of 4)

Ben Tyler (Joshua Jackson) is told he has cancer with a poor prognosis. He buys a vintage motorcycle and heads west. Throughout One Week, an offscreen voice narrates flashes of present thoughts and memories. Despite a nice fiancée Sam (Liane Balaban), a nice family and a decent if not ideal teaching job, Ben fears he never reached his potential This trip may be his last chance to take risks and experience “a lifetime each day” before entering treatment–effectively the end of life. Along the way from Toronto to Tofino, the people he meets affect him and he touches them in unexpected ways. An important supporting role is played by Canada’s magnificent scenery and quirky “world’s largest” landmarks, such as the Muskoka chair and Wawa goose, as well as iconic ones such as the Terry Fox monument and Stanley Cup.

I was previously not familiar with the work of Joshua Jackson, to my eyes a pleasant combination of Tobey MacGuire and Kiefer Sutherland. He pulls off this difficult role, often in closeups, with modest Canadian confidence. In her brief scenes, Liane Balaban is as good as we have come to expect. In their brief encounters with Ben the rest of the cast are all fine. The musical score featuring indie Canadian artists fits perfectly. Some original material by Andrew Lockington, based on keyboards, Irish pipes and wordless voices, is quite different from his previous symphonic score for City of Ember, whose main 5/4 theme reminded me of Mars by Holst. All the songs (not just clips) can be heard on the film website.

Just as in his previous film Saint Ralph, writer/director/producer Michael McGowan has shown that a well-told story from a specific place can have universal appeal. In his films, Canada is no stand in for Anywhere USA, with every licence plate taped over to hide its real location. Despite its tragic premise, One Week is too funny and life affirming to be depressing. A great Canadian film is the result.

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Joshua Jackson 'rolling up the rim' as Ben in One Week.

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Consensus: One Week is a film that celebrates being Canadian. Extremely well made, the acting, music and cinematography, etc. all work seamlessly together. Whether you're Canadian or not, this movie is worth seeing. If you get a chance, go see in theatres, if not, watch for it's release on DVD. **** (Out of 4)

The IFMCA Announces it’s 2008 Winners for Excellence in Film Scores

Write-up By E. Corrado

Yesterday the International Film Music Critics Association announced it’s winners for work in 2008 films. Facing tough competition, the film score of the year finally went to Alexandre Desplat for The Curious Case of Benjamin Button, which has also garnered him an Oscar nomination. The other films competeing for this year's top prize were, The Dark Knight, (James Newton Howard and Hans Zimmer), Indiana Jones and the Kingdom of the Crystal Skull, (John Williams), Standard Operating Procedure, (Danny Elfman), and WALL•E, (Thomas Newman). In the other categories, congratulations to Danny Elfman, for winning Film Composer of the Year, and to Canadian composer Andrew Lockington for winning Breakout Composer of the Year for his work in Journey To The Centre of The Earth and City of Ember. Also of note are Thomas Newman’s win for PIXAR’s WALL•E , and Michael Giacchino’s win for the Cloverfield ‘Roar’ Overture. PIXAR’s next feature, UP, which opens May 29th, 2009, will be scored by Michael Giacchino. Since there are too many winning and nominated composers to name individually here, I am listing all of the winners below. Also, on the IFMCA’s website, you can find all of the nominees as well.

2008 FILM WINNERS:

FILM SCORE OF THE YEAR

The Curious Case of Benjamin Button, music by Alexandre Desplat

FILM COMPOSER OF THE YEAR

Danny Elfman

BREAKOUT COMPOSER OF THE YEAR

Andrew Lockington

BEST ORIGINAL SCORE FOR A DRAMA FILM

The Curious Case of Benjamin Button, music by Alexandre Desplat

BEST ORIGINAL SCORE FOR A COMEDY FILM

Burn After Reading, music by Carter Burwell

BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE FILM

Indiana Jones and the Kingdom of the Crystal Skull, music by John Williams

BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION FILM

Inkheart, music by Javier Navarrete

BEST ORIGINAL SCORE FOR A HORROR/THRILLER FILM

The Happening, music by James Newton Howard

BEST ORIGINAL SCORE FOR AN ANIMATED FEATURE

WALL•E, music by Thomas Newman

BEST ORIGINAL SCORE FOR A DOCUMENTARY FEATURE

Standard Operating Procedure, music by Danny Elfman

FILM MUSIC COMPOSITION OF THE YEAR

Cloverfield: “Roar Overture,” music by Michael Giacchino

OTHER CATEGORIES:

BEST ORIGINAL SCORE FOR TELEVISION

John Adams, music by Robert Lane and Joseph Vitarelli

BEST ORIGINAL SCORE FOR A VIDEO GAME OR INTERACTIVE MEDIA

Age of Conan: Hyborian Adventures, music by Knut Avenstroup Haugen

BEST NEW RELEASE/RE-RELEASE OF AN EXISTING SCORE

The Boys from Brazil, music by Jerry Goldsmith; produced by Douglass Fake (Intrada)

BEST RE-RECORDING OF AN EXISTING SCORE

El Cid, music by Miklós Rózsa; conducted by Nic Raine, produced by James Fitzpatrick (Tadlow)

BEST COMPILATION ALBUM OR BOX SET

Indiana Jones: The Soundtracks Collection, music by John Williams; produced by Laurent Bouzereau (Concord)

FILM MUSIC RECORD LABEL OF THE YEAR

Intrada

City of Ember On DVD Today

Here are the links to our original City of Ember reviews from it’s release on October 10th, 2008.  In honour of the DVD release, a review of the soundtrack is below.  

City of Ember reviews

City of Ember Soundtrack Review

Written By E. Corrado

In honour of the release of the movie City of Ember on DVD, this is the review for the City of Ember soundtrack.  The music was composed by Andrew Lockington.  The soundtrack was released November 4th, 2008.  The soundtrack for City of Ember is 1 hour, 11 minutes, and 8 seconds long.  For the interview with Andrew Lockington, please see here. 

Andrew Lockington creates a score for City of Ember that when listening to it, you are not just listening to the soundtrack from the movie, but, in a sense, to the movie itself.  The movie has a strong recurring theme that while watching the movie, you don’t think of as recurring, until the end, when the then familiar theme greets you with such power, that it blows you away.  This soundtrack has very quiet moments, that will then be interrupted by such a dynamic change that you actually jump.  Having seen the movie, the music paints a picture for me as I remember what was occurring at that point in the film.  

There are several different themes that are here, most notably the ‘Ember’ theme, and Lina Mayfleet’s theme.  I will discuss them both in depth later on.  The soundtrack as a whole is very lyrical, and it is because of these themes.  This is very easily one of my favorite soundtracks of the year, and I am surprised that it doesn’t seem to be recognized anywhere.  It has very memorable pieces of music, yet they don’t get stuck in your head in an annoying way.  Instead, they are the kind of pieces that you can call up in your head quite easily, and start playing on the piano.  

I find that I am drawn to soundtracks like this that are very lyrical, yet have points where they seem to do the unexpected.  I love the percussion that is used to accentuate the score.  It is used in such a way that it is an accent to the music, and not over bearing.  The wind section of the orchestra here adds a certain mysterious, unknown feeling to the score, and the four Wagner Horns used in the ‘Ember theme’ give it a powerful feeling that exhilarates you when it is fully revealed at the end.  

This movie would not be where it was without this wonderful score by composer Andrew Lockington.  

Lina Mayfleet’s theme

Lina’s theme is one of my favorites.  There are so many wonderful pieces on here, that if I could go through the soundtrack one by one, I would.  But, due to time and space constraints, I have chosen to just profile these two, which are the main recurring themes.  

Lina’s theme begins with quick running notes, followed by the soaring theme that is uplifting, and occurs throughout the movie.  After that musical sentence the running notes continue, and the soaring theme breaks back through again.  The running notes play back and forth with this theme, until towards the end of the piece on the soundtrack, it slows with the horns taking over, as though anticipating what is to come for her.  

The ‘Ember theme’

I had heard this theme on the official movie website before seeing the movie, and it was so amazing, I would keep the games page on the website running while I was doing other stuff on the computer, just to be able to hear that theme.  Of course, the soundtrack was not released yet.  

In the Main Title track, this theme opens with a powerful drumbeat, followed by notes and chords beginning to emerge.  This continues as a sort of tension builds.  In the 3 minute 29 second piece on the soundtrack, we first hear the movie’s main motive notes emerge only at around 1 minute 24 seconds.  The theme does not fully show itself until 2 minutes 18 seconds when the motive notes repeat, leading into the full theme at around 2 minutes 24 seconds in, when it emerges fully, and continues until about 30 seconds from the end when the beginning part takes over again.  In this version of the theme, it is powerful, yet unsure of what’s to come.  The various pauses and changes, especially around the 2 minute mark, are what make this piece so unpredictably powerful.  

My favorite track on the whole CD, would have to be One Last Message.  Lina’s theme leading into the ‘Ember’ theme is an amazing thing to listen to.  In One Last Message, the theme is changed from the Main Title track.  It is lighter at the beginning around 20 seconds in, and becomes fully entwined with Lina’s theme 30 seconds in.  The theme plays through in full in such an amazing way.  The same theme as at the beginning, but the atmosphere is so different.  Rather then mysterious, and almost ominous, it soars, and lifts.  It is this piece that really made me fall in love with this soundtrack.  As it changes key, and goes through it’s rotations, it evolves into what it was trying to become at the beginning - free at last.  

Soundtrack for City of Ember; an Interview with the Composer Andrew Lockington

Written By E. Corrado

When did you find out that you were scoring City of Ember, and how did it compare to when you found out about scoring other movies?

I got hired end of June, early July. City of Ember had a tight deadline, since it had a predetermined release date. With Journey to the Centre of the Earth, I had six months, so it varies.

What was it like working on this movie, and where did you draw your inspiration?

I read the book 1-2 years ago, I’m a huge fan of the book, and loved the idea of coming from a dark place, and going to a lighter one. In the music I tried to emanate that and I tried to make the back canvas a glimmer of hope. Lina, in the movie, is like the glimmer of hope who is going in a different direction then everyone else and ends up believing in something better, so I wanted to make her theme very uplifting and hopeful. Even before I had come on board, they had hired an orchestra, so I knew that there would be a choir, and quiet themes that would tell the story. It would start out dark, and become a sense of accomplishment and victory.

When you look back at other movies you have done, such as Saint Ralph, and Journey to the Centre of the Earth, how does ‘Ember’ compare?

Every movie is definitely different. What I loved about Ember is that it had a mix of action and real emotion, almost religious at times. You can find another emotional depth, which is multilayered, as opposed to two-dimensional.

When did you know that you wanted to be a composer?

Earlier on, I had three things that I wanted to be. A composer, an architect, or an airplane pilot. Now I know that I made the right choice by choosing composer. I had been composing since I was young. I was in a highschool band, but the band broke up, around the time that applications for university were due. I realized that I really liked movie music because the emotion for the movie develops over a period of time, and it is nice to be able to develop an idea over a period of 90 minutes, rather then 2 or 3.

Where did you study music?

Wilfred Laurier University in Waterloo ON.

When composing music, do you use a keyboard and computer to mix the tracks electronically, before it’s played by the orchestra?

I use Logic Audio, and make Midi mockups. The studios want to know how it will sound when it’s done. In the old days, you would write the piece on piano, play it for them, and then be telling the studio execs, ‘this here will be oboe, here french horns, and here timpani’, which would leave a lot to the imagination. I like doing scores because orchestra productions are so expensive, movie studios are some of the last places that have the money for that.

Are there any scores that you’ve done that you aren’t happy with and think you could have done better?

No thankfully, but there is always that fear of not doing it as well as you could have, then sitting in front of the orchestra and thinking, I could have done that better’, or ‘I should have done those eight bars differently’. But I think that is more like a kind of quality control.

What was your favorite part of doing the music for ‘Ember’?

Lina. I liked her character development. I wanted her strength and determination to parallel the story in music, since on screen she sometimes comes across as more quiet, and humble.

What was your favorite movie to write music for, and why?

It is hard to choose since they are all so different, but when I had the opportunity to listen to clips of them, I have to say, Saint Ralph, Touch of Pink, Journey to the Centre of the Earth, and City of Ember.

In City of Ember how did you come up with the theme that is played throughout the movie? (The one that comes through fully at the end, and on the last track of the soundtrack.)

I actually wrote it on an airplane flying back from a meeting with the director. I always carry manuscript paper with me, because I sometimes get an idea that I want to write down. I couldn’t get the theme just right, until finally I fixed that be changing it to 6/4 time.

How are the titles chosen for the soundtrack?

For City of Ember there was 80 minutes of music, and the soundtrack has 71. Some of the shorter cues become tracks combined in a suite. One thing I try to keep are the titles making sense in reference to that part of the movie for people who have seen it, while not giving too much away to those who have bought the soundtrack, but not seen the movie yet. Sometimes the titles are determined by the director, although I like to try to keep the original names.

Before the tracks have names, how are they referred to for the orchestra?

A lot of movies still have film on reels, and there will be 5-6 reels for the film, and about 15-20 minutes on each reel. They are numbered like 1-M-6, with the first number being the reel number, and the second number being the cue. So 1-M-6 would mean first reel, cue number 6. If there are only 6 cues on reel one, then the next reel would start at 2-M-7. When the second reel starts, the second number continues on where it is left off going from 6 to 7.

The reason for this is that sometimes they will rebalance the film, and make it be on five longer reels, instead if six. This way the musical cues always keep the same number association, even if the reel number changes.

When composing, do you have to watch, and make sure that you don’t have music running through the reel breaks?

That’s a good question. As time goes on and more movies go digital, it doesn’t matter. Some composers have started composing without the reel breaks now, but there are still many film theatres out there. I never play music through reel breaks, because at the theatre they will slice a few frames off of the reels, especially as they start to get beaten up at the reel breaks. I make it a point of having just over 2 seconds, before the end of the reel, and when it starts again about 1/2 second without music. This way the music doesn't get cut off for a second.

Since City of Ember was based on the first book in a set of four, if sequels are made, would you be doing, or willing to do, the music for them as well?

I would absolutely do all four. They have a magnificent story, and I was writing a theme that could evolve. At the end, it is the same melody, but a different incarnation. I would love to explore that further.

Can you tell us about any other upcoming projects that you are working on?

One Week, which opens in March 2009, and was at the Toronto International Film Festival.

The City of Ember soundtrack will be available in store November 4th, 2008, and was released October 21st, 2008 on iTunes.