Sound of Cinema: Zbigniew Preisner
As part of the BBC's Sound of Cinema season, Tom Service presents an interview with Polish film composer Zbigniew Preisner, known for his work with director Krzysztof Kieslowski.
Presented by Tom Service. As part of the BBC's Sound of Cinema season, Music Matters this week includes an interview with the Polish film composer Zbigniew Preisner, whose collaborations with the director Krzysztof Kieslowski on films such as Dekalog, The Double Life Of Veronique and The Three Colours Trliogy brought him international acclaim. Preisner's latest work, 'Diaries of Hope', premieres in London in October. And Tom is joined by the historian Mervyn Cooke and composer Jocelyn Pook to discuss the challenges facing classical composers in the film industry.
Tom Service speaks to Zbigniew Preisner about his film music and working with Kieslowski
Britten the film composer
Colin Matthews talks about Britten's work on the GPO films.
National Film and Television School
Tom speaks to staff and composers at the National Film and Television School
Regarded as Poland’s leading film composer Zbigniew Preisner is best known for his collaborations with the director Krzysztof Kieslowski – including the Three Colours Trilogy (Three Colours Blue, Three Colours White and Three Colours Red), the visionary 10-part series for Polish Television Dekalog and The Double Life Of Veronique.
Tom Service speaks to Preisner about the coincidences which have defined his career, his close relationship with Kieslowski, and his controversial view that the profession of the film composer is in its final years.
Britten the film composer
Benjamin Britten became a member of the General Post Office (GPO) film unit in 1935, aged 21. Britten worked for the unit on short documentaries promoting the GPO’s activities, including his first collaborations with the poet WH Auden on films as Night Mail and Coal Face.
The composer Colin Matthews (Music Director of the Britten-Pears Foundation) tells the story of how a young Britten became involved in music for screen, and of his experimentation both with music and with the recording of sound effects for the films.
The National Film and Television School
With four permanent departments - production, camera, editing and sound - the National Film School (as it was first named) opened in 1971 on the site of the Beaconsfield Film Studios in Buckinghamshire, the historic home to silent movies of the 1920s, and the likely meeting place for Britten and the GPO’s Alberto Cavalcanti.
Earlier this week Tom went to the NFTS to meet Dean Humphreys, head of Post-Production, Chris Auty, head of Production, and three student composers (David Pearce, Lyndon Holland and Arran Price), and discovered a unique approach which sees students from all disciplines continuously collaborating on film projects in an environment akin to the early Hollywood studios.
Film Music: A discussion.
The film music historian Mervyn Cooke and composer Jocelyn Pook (Brick Lane, Eyes Wide Shut) join Tom to talk about changing trends in film music - setting Britten’s approach in the context of other British composers of his generation like Ralph Vaughan Williams and William Walton, discussing the dangers of the industry standard temp track, and giving their opinions on the current and future state of music for the big screen.
Role Contributor Presenter Tom Service Interviewed Guest Zbigniew Preisner Interviewed Guest Mervyn Cooke Interviewed Guest Jocelyn Pook