{"id":869,"date":"2013-08-03T19:20:45","date_gmt":"2013-08-03T19:20:45","guid":{"rendered":"http:\/\/bigheadamusements.com\/wordpress\/?p=869"},"modified":"2013-08-14T21:31:31","modified_gmt":"2013-08-14T21:31:31","slug":"e-c-woodley-scoring-the-bio-horror-of-antiviral","status":"publish","type":"post","link":"https:\/\/bigheadamusements.com\/wordpress\/?p=869","title":{"rendered":"E.C. Woodley: Scoring the Bio-Horror of Antiviral"},"content":{"rendered":"

\"Antiviral_lips2\"<\/a>Although he\u2019s only scored a handful of feature films, E.C. Woodley\u2019s latest work, the music for Brandon Cronenberg\u2019s Antiviral<\/strong><\/a> [M<\/a>] (2012), may be his most impressive calling card, boasting an engrossing if not hypnotic marriage of analogue and digital sounds.<\/p>\n

Inspired by the film\u2019s striking visuals and the performances of its cast, the music also reflects the peculiar struggle within the film as fans trying to get close to their idols through biological ingestion, if you will.<\/p>\n

The resulting score, released as a digital album by Lakeshore Records, is lush and immersive, and features sounds that stem from Woodley\u2019s own unique way of perceiving, crafting, and adapting material into a tailored-made score.<\/p>\n

In our lengthy conversation, Woodley discusses his time as Michael Kamen\u2019s assistant on Brazil<\/strong> (1985), and the thought processes that ultimately created a remarkable score.<\/p>\n