The Martian is the 2015 science fiction film based on Andy Weir's 2011 novel of the same name directed by Ridley Scott. Two soundtrack albums for the film were released by Columbia Records on October 2, 2015. [1] The first album titled The Martian: Original Motion Picture Score, features instrumental tracks from the original score composed by Harry Gregson-Williams, [1] [2] and the latter, featured incorporated songs used in the film, that was released as a separate album under the title Songs from The Martian. [1] The music served as a "comic relief" to provide sarcasm where most of the songs are chosen and performed ironically. [3] [4]
This film marked the fourth collaboration between Gregson-Williams and Scott, the former worked on Kingdom of Heaven (2005), Prometheus (2012) and Exodus: Gods and Kings , composing the main film score for the first and last films, and doing additional music for the other two. Williams said that, the score would be mostly hybrid, but also being "epic" and "large" in terms of scale, while the film tells about a man's survival. [5] A deluxe edition combining both the film score and the soundtrack, were released in digital and physical formats on November 6. [1]
Songs from The Martian | |
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Soundtrack album by various artists | |
Released | October 2, 2015 |
Genre | |
Length | 33:06 |
Label | Columbia |
No. | Title | Artist(s) | Length |
---|---|---|---|
1. | "Turn the Beat Around" | Vicki Sue Robinson | 3:24 |
2. | "Hot Stuff" | Donna Summer | 5:12 |
3. | "Rock the Boat" | The Hues Corporation | 3:19 |
4. | "Don't Leave Me This Way" | Thelma Houston | 3:37 |
5. | "Starman" | David Bowie | 4:14 |
6. | "Waterloo" | ABBA | 2:46 |
7. | "Love Train" | The O'Jays | 2:58 |
8. | "I Will Survive" | Gloria Gaynor | 3:17 |
9. | "The Martian Score Suite" | Harry Gregson-Williams | 4:19 |
Total length: | 33:06 |
Notes
Critics noted the use of 70's disco music in the film being compiled into a soundtrack, would bring a prominent response, similar to the soundtrack of Guardians of the Galaxy (2014). [3] Johny Brayson of Bustle said "The Martian soundtrack reflects Watney's struggle, and by the time you leave the theater, you'll have heard enough '70s hits to last a lifetime." [6] Megan Garner of The Atlantic wrote "the music of The Martian becomes a metaphor not just for an exploratory approach to the cosmos—space, the final frontier and all that—but for a colonial one". [7] Matt Zoeller Seitz, in his review for RogerEbert.com felt that the musical choices "make Mark's predicament seem like an elevated version of a tedious but necessary task, like tiling a roof or repainting a garage. Hard work always seems to go faster when you put some tunes on." [8] IndieWire ranked it as one among the "30 Best Film Soundtracks of 2015". [9]
The Martian: Original Motion Picture Score | ||||
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Film score by | ||||
Released | October 2, 2015 | |||
Studio | Abbey Road Studios, London | |||
Genre | Film score | |||
Length | 33:06 | |||
Label | Columbia | |||
Producer | Harry Gregson-Williams | |||
Harry Gregson-Williams chronology | ||||
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After providing additional music for Exodus: Gods and Kings (2014), Scott asked Gregson-Williams to read the script of The Martian, confirming his involvement. [10] He was involved in the project, four weeks before the film entered post-production, and Scott supervised the film in the editing room, and was further amazed by the "tight and innovative" writing, performances, and the "perfectly executed" edit which thought of him as "a charm to work on a film where three moons are aligned". They discussed about the textures, sounds and colors of the music might provide and the emotional arc of the film. [11]
Gregson-Williams, however had certain challenges geographically, as most of the film's story set in Mars and had to find a character, in which he would serve as a "monster" metaphorically, and that approach would counter what they were really after, where Mars had the austerity to it, being calming and spacious, and there had been hints of danger and malevolence because Mars will kill him if he puts a foot wrong. [5]
The score had plenty of long notes, which were not in hurry at most of the times. It was further being a hybrid score, of epic and large in scale, but at its heart, it depicts about Watney's (Matt Damon) survival. The thematic material attached to him progresses and evolves throughout his journey, that starts very bleak, but his character was quite optimistic and humorous. Gregson-Williams wanted to track his ups and downs musically. On writing his theme, he found a "more personal sound" that accompanied his monologues and required him to go deeper into it. He used arpeggiated synth sounds which could accompany a piano or similar instruments, but as the film progressed and his tasks became more grander, so as the music. He recorded a large orchestra and choir at Abbey Road Studios in London. [5]
No. | Title | Length |
---|---|---|
1. | "Mars" | 2:25 |
2. | "Emergency Launch" | 3:09 |
3. | "Making Water" | 2:38 |
4. | "Spotting Movement" | 1:49 |
5. | "Science the S*** Out of This" | 2:16 |
6. | "Messages from Hermes" | 3:31 |
7. | "Sprouting Potatoes" | 1:39 |
8. | "Watney's Alive!" | 2:46 |
9. | "Pathfinder" | 2:33 |
10. | "Hexadecimals" | 2:33 |
11. | "Crossing Mars" | 3:36 |
12. | "Reap & Sow" | 2:21 |
13. | "Crops Are Dead" | 3:26 |
14. | "Work The Problem" | 1:57 |
15. | "See You In A Few" | 5:11 |
16. | "Build a Bomb" | 5:06 |
17. | "Fly Like Iron Man" | 4:45 |
Total length: | 51:49 |
Music critic Jonathan Broxton wrote "Although The Martian might not have the crowd-pleasing overt heroism of something like an Apollo 13 , and may disappoint listeners looking for that sort of score, I personally think Harry Gregson-Williams interpreted Ridley Scott’s vision perfectly. The electronic ideas capture its scientific backbone in terms of the film’s celebration of intellect and ingenuity, and pays homage to its classic sci-fi outlook." [12] James Southall of Movie Wave wrote "The Martian is smart music, cleverly conceived and like all good film music there’s a great dramatic impetus to it on the album, a clear course being travelled." [13] Pete Simons of Synchrotones called it as "a very stylish score with each cue feeling like a nicely rounded piece of music. The composer effortlessly mixes orchestral and synthesized textures to create a very human, yet very alien atmosphere. It suits the film to the ground, and makes for a beautiful, new age-type album." [14]
Award / Film Festival | Category | Recipient(s) | Result | Ref(s) |
---|---|---|---|---|
Empire Awards | Best Soundtrack | Nominated | [15] | |
Hollywood Music in Media Awards | Best Original Score in a Sci-Fi/Fantasy Film | Ridley Scott | Nominated | [16] [17] |
Motion Picture Sound Editors | Best Sound Editing – Music in Feature Film | Tony Lewis, Richard Whitfield | Nominated | [18] |
Satellite Awards | Best Music | Harry Gregson-Williams | Nominated | [19] |
St. Louis Film Critics Association | Best Soundtrack | Nominated | [20] |
Sir Ridley Scott is an English film director and producer. He is best known for directing films in the science fiction, crime, and historical drama genres. His work is known for its atmospheric and highly concentrated visual style. He ranks among the highest-grossing directors and has received many accolades, including the BAFTA Fellowship for Lifetime Achievement in 2018, two Primetime Emmy Awards, and a Golden Globe Award. He was knighted by Queen Elizabeth II in 2003, and appointed a Knight Grand Cross by King Charles III in 2024.
Harry Gregson-Williams is a British composer, conductor, orchestrator, and record producer. He has composed music for video games, television and films including the Metal Gear series, Spy Game, Phone Booth, Man on Fire, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe and Prince Caspian, Déjà Vu, X-Men Origins: Wolverine, The Martian, Team America: World Police, Antz, The Tigger Movie, Chicken Run and its sequel, the Shrek franchise, Sinbad: Legend of the Seven Seas, Flushed Away, Arthur Christmas, Early Man, Catch-22, and Gladiator II. He is also the older brother of fellow composer Rupert Gregson-Williams.
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Stephen Barton is a Grammy-winning and Ivor Novello award-winning British composer who lives in Los Angeles. He has composed the music for dozens of major film, television, and video game projects, and has won two SCL Awards and a BAFTA nomination for his work.
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Lisbeth Scott is an American composer, vocalist, multi-instrumentalist, producer and songwriter of Armenian origin, born in Boston, Massachusetts. She is featured on the soundtracks for the films Avatar, Avatar: The Way of Water, Concussion, Shrek, The Passion Of The Christ, Transformers, The Big Wedding, The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe, The Chronicles of Narnia: Prince Caspian and Munich, in which she sings a 3 minute solo specifically written for her by John Williams. In addition she is featured in Iron Man 2, Disney's Wings of Life, Spider-Man and many more. She co-wrote and performed the songs "Where", and "One Breath" for Narnia. She also co-wrote and performed "Good To Me" in the movie Shutter, "Edge of Heaven" with Joel Douek for the film The Wildest Dream, "Real Love" for the film Domino and countless others. Her songs and vocals have been featured in hundreds of Hollywood blockbusters, many of them Oscar and Grammy winners and nominees. As a composer she has scored both television and film.
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