Film Composer Mark Slater Film Music and Soundtrack
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Soundtrack and Film Music

Specializing in music soundtrack composition for motion pictures, film, TV, commercials and on-line, my team and I can provide a wide variety of musical styles for all types of media. Compositions may be performed by leading orchestras and players such as the London Symphony Orchestra but we can provide a wide range of production options to suit the budget. We will take care of everything from initial quotations to final delivery of the masters and Post support.

We have production studios in California and London and can provide music including live recording at very short notice.

If you would like to use any of my music to enhance your own website free of charge, please email me for terms.

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Mark Slater - Film Music and Sountrack Composer

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This page contains soundtrack and film music examples composed and orchestrated by Mark Slater. Recordings may not be used or broadcast without permission.

Copyright © Mark Slater 2005. All Rights Reserved.

 

Film Music and Soundtrack Reviews
 
Film Composer MARK SLATER is VP of film, TV and media music at the CALIFORNIA INDEPENDENT PRODUCTION CENTER - Offering Production space and editing suites in Burbank, CA. His work has been recognised with several awards including Cannes for the Philips Aurea project and Telly Award for the PBS documentary 400 Years of the Telescope.

Mark Slater is a member of the Executive Team, at A&R Unlimited, which provides professional advice, reviews and critiques on songs and music.
 

Easy Virtue

Based on a play by Noel Coward, this delightful and subtly funny script is admirably brought to life by some engaging performances. The costumes are wonderful but what really sets this film in time is the incredibly clever score created by Marius de Vries. Using a sort of oom-pah-pah bandstand style reminiscent of the 1920s and 1930s, de Vries shows great skill and craftsmanship in the arrangements, which include backwardly dating modern songs like Sex Bomb delivered with that dry clipped very English vocal style that Coward himself was known for. Not to be missed during the end credits is the charming outroduction of all the band players, each followed by an instrumental flourish.

Easy Virtue on IMDB.

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Star Trek (Dir. JJ Abrams)

Although I can’t praise the overall film enough in terms of characters, script, art direction, pace and style, the perfection that otherwise might have been complete was seriously marred by the rather crass, attempting to write big, main theme. Although irritating enough to have people whistling it in the washrooms after the show, that was where it should have stayed, the motif, I can hardly call it a theme, running out of steam every x bars and requiring a plodding unimaginative eighth note dominant pedal to return it to its repetition. During moments of action the score performed its duty i.e. could have been composed by anyone, but while a different thematic style for the music was undoubtedly called for along with all the other reinvention of the franchise, MG’s effort missed the grandeur of the big screen by a few parsecs. His monster theme for Cloverfield was only moderately less out of place, but still nothing compared to his excellent work with animation and 50’s pastiche (Land of the Lost, The Incredibles). I am left with the distinct impression that this composer should be recognised for his considerable gifts there, for lighter and more fun styles, and others more capable to be a successor to Goldsmith or Horner be considered for future Star Trek films, rather than flavour of the month, Michael Giacchino.

Star Trek on IMDB.

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Terminator Salvation (Dir. McG)

A slightly unusual choice for Danny Elfman, normally associated with the weird and wonderful world of Tim Burton, yet this was an efficient action score which used the well known Terminator theme by Brad Fiedel sparingly.

Terminator Salvation on IMDB.

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The Brothers Bloom (Dir. Rian Johnson)

Full of colour and interest, this score kept you engaged and matched well with this quirky story. The effective advanced string writing was particularly memorable and overall the score is another good example of what you can do with smaller forces away from traditional symphony orchestra scoring.

Star Trek on IMDB.

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Up

A fabulously simple, catchy and heart warming melody underpinned the most brilliant part of the film, which is simply the opening 10 to 15 minute montage. Other parts of the score were brilliantly executed and fine examples of this fantasy adventure animation scoring. Michael Giacchino, you are a master at this without question.

Up on IMDB.

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Land of the Lost

A clever stylized approach to this expensive picture, that won me over for art direction, but lost nearly everyone because the humour was simply diabolical. The end credits are worth staying for however.

Land of the Lost on IMDB.

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