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Marius de Vries

@mariusdevries

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BEHIND BLUE EYES👁️👁️👁️ Great to be back at Telluride and to be able to welcome Behind Blue Eyes into the world.
This was an inspiring journey, dreaming up a score to sit alongside all of these incredible Who tunes (absolutely pivotal in my teenage years) - amongst other things it’s the story of the tangled genesis of Who’s Next, to my mind unequivocally and always one of the top 5 rock records of all time …

One of the most gratifying privileges of this project was the chance to create the foundation of the score at the Townshend Studio in London with full access to all of the original machinery which Pete trailblazed in the very early 70s, pioneering the use of synthesizers and electronica in rock music in an unrivaled burst of prescience. The mighty ARP 2500, the EMS Synthi 100, the exact same VCS3 that Won’t Get Fooled again was created on, the Lowrey from Baba O’Riley … what a session that was - and really helped find a continuity of tone throughout the film. And I felt like I was living and recording in the 70s for a time-travely minute.

Thanks above all to Pete Townshend @yaggerdang for letting me loose on this.
Thanks to directors Nigel Sinclair and Frank Marshall for their openness and trust.
Simon Li, @simonlimusic - Score Producer, for carrying the weight of this on his back so gracefully.
Ben de Vries @ben.de.vries for some fantastic programming and running the London side of things.
Michelle de Vries @mdev44 for expert supervision and endless patience. You were missed here in Colorado.
Aurelie Webb for invaluable help with the music editing.
Joey Scoma @joeyscoma for cutting it beautifully and for being a great collaborator.
Theo Sofowate and Greg Smith at the Townshend Studio @thetownshendstudio for guidance and (much needed) tech support.
And wonderful to be reunited at the final mix with the amazing Chris Jenkins - the man who always makes everything sound good - and to work with Sal Ojeda @salojeda for the first time. by @mariusdevries

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a month ago

This is what AI is made for! Working with the estate of the world's most famous sleeptalker, Dion McGregor, we launched The Somniloquist project: bringing his outlandish dreams to life. Just listen to the audio to get a sense of what I mean.

My friend and collaborator on this project Pippa Lambert 𝙖𝙧𝙚 𝙡𝙤𝙤𝙠𝙞𝙣𝙜 𝙛𝙤𝙧 𝙩𝙖𝙡𝙚𝙣𝙩𝙚𝙙 𝘼𝙄 𝙖𝙧𝙩𝙞𝙨𝙩𝙨 to each take on their own dream and give it their unique artistic spin. Each film will be paired with a world-renowned composer (I worked with Grammy winner Marius DeVries on the first one, that also premiered in Los Angeles as part of OpenAI's Sora Selects film festival and won at NY Shorts International FF).

If this sounds interesting to you, please visit 𝙨𝙤𝙢𝙣𝙞𝙡𝙤𝙦𝙪𝙞𝙨𝙩.𝙖𝙞 and reach out with your reel. by @mariusdevries

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2 months ago

THANK YOU @recordingacademy; and the extraordinary @fkatwigs, @koreless, and @ojivolta for bringing me into the family ! Also to @mixedbyjoncastelli and @mannymarroquin by @mariusdevries

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4 months ago

It’s taken me decades but I finally saw David Toop live - a beautiful double set of mysterious subliminal improvisation at Cafe OTO. Got to talk to him afterwards so I was able to let him know that ”new and rediscovered musical instruments” changed my life at the age of 15. by @mariusdevries

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4 months ago

Welcome to the world , TUNER!
Been a long gestation, since early 2023 wrestling with the script with @daniel_roher and Robert Ramsey, writing a ton of piano based music and then working with the amazing @havanaroseliu @leowoodall and the legendary Dustin Hoffman to bring the music onscreen.. Havana and Leo did an incredible job getting their fingers around some really challenging material in a ridiculously short amount of time. I hope we did justice to our kind hosts and collaborators at the Royal Conservatory in Toronto, ( many thanks @mervonmehta ) who provided all of our young musicians - their talent and enthusiasm was truly inspiring. Great to be in the trenches again with my dear partner in crime @sgizicki who oversaw a wonderful sequence of needledrops from Herbie Hancock to Nina Simone. With the film centering around a character with a debilitating hearing condition, massive applause to @johnnie_burn for building a beautiful and immersive soundscape in the mix. But most of all I’d like to shine a spotlight on the unsung heroes of our amazing music team… the film truly would not have been possible without them. Liz Kinnon who headed up the Piano department and performed her usual miracles. @eve.egoyan , in charge of piano coaching in Toronto, who was by our side throughout the shoot and was indispensable to the cast amidst the pressure of a very accelerated shoot. And Kurt Crowley @crodees1 who got Leo started in New York. Jody, Spencer, and Daryn at @orangeloungeto , my new favorite studio in Canada. The incredible @lalaleepiano and @charlesrobertspiano who delivered the definitive recorded piano performances with astonishing flair,. @triokait Kait Dunton and @serenepianist who helped me hear all of my early drafts performed with true virtuosity. @mark_robertson720 for wrangling the crucial last-minute string overdubs for the OST. @jmoshk for a superb mix. Will Bates for the underscore. And of course the indestructible and ever resourceful @simonlimusic for holding it all together when things got complicated (which they did!). @highschooljacob and @connorschon for getting us started. Those I have forgotten, forgive me. Eb is out. by @mariusdevries

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4 months ago

Happy to see the release today of Matt’s and my score to:

THE AI DOC - OR HOW I BECAME AN APOCALOPTIMIST

(which I was disappointed to learn is not the longest movie title in history).

We are very happy with it and encourage everybody to go listen wherever you stream things from.

As always, a great pleasure to collaborate with the Archwizard and lifelong friend Matt Robertson.

Many thanks to the brilliant @simonlimusic for his invaluable support throughout.

To directors @charlietyrell and @daniel_roher for letting us loose on this beast.

To Editors Davis and Laurie @meansboro and @poliskweee, was a joy working with you.

To Jonathan @splitsurround and everyone at Skywalker. FAB mix. To @reuben_cohen1111 for a beautiful mastering job.

To the Producers: the incredible Daniel Kwan @dunkwun, Shane Boris @shane.boris , Diane @dibecka, @carolynejurriaans , @tedtremper ....

The team at NBC/Focus. Zach Grossman, Garrett McElver @mallratbrodie95 , @mikeknobloch and @carlorizzo ...
Serene @serenepianist for some insanely wonderful pianistic genius and Mike Stever for not minding that we made him play high notes and then pitched his trumpet down an octave.

Grateful that Focus have given our documentary a proper wide theatrical release - out this weekend. Go see it!

Now looking forward to not having to think about this anxiety-inducing subject for a while.

Next one’s a musical. About Death Row. by @mariusdevries

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6 months ago

Bit of a time warp goin’ on by @mariusdevries

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7 months ago

Bear McCreary moderated ASCAP’s panel “How SXSW Film Composers Are Redefining Cinema” Sunday. It celebrated films showcasing at the SXSW TV & Film Festival by ASCAP composers Paul Leonard-Morgan (Pretty Lethal), Marius de Vries (The AI Doc…) and Charles Humenry (Downbeat). Thanks for all who attended and took part in the discussion around the biggest film and music trends, and how they are reshaping the world of film composition in this new era of cinema. by @mariusdevries

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7 months ago

Marius de Vries, the producer behind Want One, shares the story of the first time he heard “Dinner At Eight.” by @mariusdevries

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8 months ago

CONGRATS AND THANKS TO @koreless @ojivolta @mixedbyjoncastelli @mannymarroquin @fkatwigs - 🌟🎉🌟 by @mariusdevries

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8 months ago

THANK YOU ROLLING STONE ‼️💥 by @mariusdevries

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9 months ago

Quite the best show I’ve experienced for many a year. @iamjonsi and Sigur Ros were sublime at the Orpheum, with masterful orchestrations and conducting by @robertamesmusic. Still buzzing. by @mariusdevries

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a year ago