AVA
Ava, a sleek new, spy thriller stars Jessica Chastain, John Malkovich, Colin Farrell, Common, Joan Chen, and Geena Davis. The film, a Voltage picture, directed by Tate Taylor, hit VOD this fall. Jessica Chastain plays the title character, a remorseless assassin, who must wrestle with her own demons, and struggle with relationships she has wrecked or abandoned. The film is an ambitious combination of character study and assassin intrigue.
As a kid I immersed myself in orchestral film scores growing up, background that served me well for the last Voltage Picture I scored, The Professor and the Madman. That score’s Romantic chamber orchestra flourishes represent the total polar opposite of the musical needs of this film. Fortunately as a kid growing up in the 1990’s I also adored electronic music maturing in that era. Depeche Mode, Trent Reznor, Nine Inch Nails, and Marilyn Manson had a huge impact on my young brain and popular culture, as did the scores of composers such as Brad Fiedel (Terminator, Terminator 2, True Lies), Éric Serra (La Femme Nikita, The Fifth Element), the Dust Brothers (Fight Club), and Tom Tykwer, Johnny Klimek, and Reinhold Heil (Run Lola Run). I had always wanted to try my hand at a score written in the style pioneered by these artists. So, I was grateful to join Ava’s incredible creative team and be given the chance to compose a searing, predominantly electronic score for a spy thriller.
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