#ludwig göransson

[cillixn]

[tomhardymyking]

I think 𝑽𝒆𝒏𝒐𝒎's music is wonderful and I love it a lot ❤️

So, with this special video with a little of that music, I want to thank 𝗟𝘂𝗱𝘄𝗶𝗴 𝗚𝗼̈𝗿𝗮𝗻𝘀𝘀𝗼𝗻, 𝐎𝐬𝐜𝐚𝐫 winner at the 96th gala (last week), for creating this spectacular soundtrack for the film, and congratulate him on his award (although I didn't think his comment towards video games was good) 👏🏻💞

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La música de 𝑽𝒆𝒏𝒐𝒎 me parece maravillosa y me encanta un montón ❤️

Así que, con este vídeo especial con un poco de esa música, quiero agradecer a 𝗟𝘂𝗱𝘄𝗶𝗴 𝗚𝗼̈𝗿𝗮𝗻𝘀𝘀𝗼𝗻, ganador del 𝐎𝐬𝐜𝐚𝐫 en la gala 96 (la semana pasada), por haber creado esta espectacular banda sonora para la película, y felicitarlo por su premio (aunque no me pareció bien su comentario hacia los videojuegos) 👏🏻💞

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[marvelstudios]

What’s the first thing you remember from stepping on set?

[guillotineman]

Oppenheimer (2023, dir. Christopher Nolan)

[vronskies]

oppenheimer (2023)

[senso1954]

oppenheimer's can you hear the music? scene, music by ludwig göransson

[mrcjprice193]

Give Ludwig Göransson another oscar!!!

The theme for wakanda forever is PERFECTION.

[firstcow]

i'm afraid that not nearly enough people are talking about ludwig göransson's oppie score on this website

[ivovynckier]

The victorious couple Ludwig Göransson (film composer) and Serena McKinney (violinist).

[ninaemsaopaulo]

Oppenheimer

Tem uma categoria de filmes que gosto, que são os "filmes sobre gênios da humanidade". Na história mais recente do cinema, tudo deve ter começado com Gênio indomável, mas a coisa evoluiu para biografias de fato: Uma mente brilhante e O jogo da imitação são exemplos. A cada cinco ou dez anos, surge um filme assim, o da vez é Oppenheimer.

Oppenheimer é um filme complexo, sobre um tema que não domino, ainda que Christopher Nolan seja um diretor que ama explicar a história, motivo pelo qual muitos não gostam de Interestelar (eu amo, penso que é a obra-prima dele). Todos os filmes do Nolan debatem o mesmo tema: o tempo. É sempre uma corrida contra a mais implacável das perdas. Aqui, acompanhamos vida e obra de J. Robert Oppenheimer, o pai da bomba atômica.

O grande dilema do filme é como será o mundo após a criação e execução de uma arma de destruição em massa, que devastou Hiroshima e Nagasaki, mas cujas consequências e ameaças enfrentamos até hoje. Ainda estamos na era nuclear e, entre as décadas de 30 e 40, quando o tema estava apenas começando no meio científico, acreditava-se que a bomba atômica seria "a arma que acabaria com todas as guerras", dada sua capacidade de incendiar a atmosfera, tornando o planeta inabitável.

Você sabe que um filme do Nolan é um filme do Nolan quando marcas registradas ganham evidência: flashbacks, silêncio no ápice e três horas de duração que você nem sente. Para marcar as duas linhas do tempo e pontos de vista de personagens, o diretor utiliza o recurso das cenas em preto e branco, pontuando a realidade dos fatos. O que está colorido é a subjetividade do protagonista.

Cillian Murphy alcançou a glória que merece. Depois de anos sendo mero coadjuvante nos filmes do Nolan, recebeu um papel de respeito e responsa. Vi entrevistas do legítimo Oppenheimer e Cillian está IGUAL. Matt Damon parece um xerife do Texas; Emily Blunt está excelente no papel da esposa alcoólatra que tudo tolera e, o mesmo tempo, não aguenta mais; Tom Conti faz um simpático Albert Einstein; e Rami Malek, que já levou um Oscar de melhor ator para casa, parece que vai fazer só uma pontinha no filme, entrar mudo e sair calado, like Rodrigo Santoro em As panteras, até se tornar uma testemunha-chave desse momento da história.

Para mim, a grande surpresa ficou por conta de Robert Downey Jr. e David Krumholtz. O primeiro está irreconhecível: de fato, só percebi de quem se tratava quando o filme terminou e os créditos subiram. O segundo, não sei como reconheci: ele fez 10 coisas que eu odeio em você, mas o jeitinho nerd não mudou. Downey Jr. deve pelo menos concorrer ao Oscar de coadjuvante ano que vem.

A trilha sonora do jovem Ludwig Göransson parece outro personagem da história: a qualquer momento, um alarme de incêndio pode soar no fim do tic-tac do relógio e isso é muito a cara do Nolan.

Uma decepção? Descobrir que Cillian Murphy é baixinho.

[cinnamonsikwate]

this interview of foudeqush saying ludwig göransson asked her to write con la brisa as if she was describing the sun to someone who had never seen it (time stamp 08:25 — sub "él me dijo escribe una canción como si tu quisieras explicarle a la alguien que nunca ha visto el sol como es el sol") gives so much more depth to the song than i initially thought (and i had a lot of thoughts lmao)!

when she sings:

it has the intensity of your eyes

it burns more than fire and it reflects on broken glass

and

amongst the shadows, my love, you are the brightest sparkle

how beautiful, how beautiful

that's why, my love, you remind me so much of it

the "it" she's talking about is the sun! the "you" are the talokanil!* and that just adds so much more gravity to k'uk'ulkan bringing the sun to his people in the depths of the ocean 🥹

despite the horrors he encountered on the surface the day he buried his mother, the beauty of the sun and the sky is still seared in his mind. it breaks his heart further that he cannot share it with his people, but he is a god, is he not? he will create a sun for his people, a promise, a hope, that one day they might — without fear — behold the sky with their own eyes, feel the breeze kiss their skin, no matter if he has to burn the world for it.

he pledges just as much in the following lines:

i will give my whole life

to get you out of the gloom

i will break with your penitence

in this world that's falling apart

give me a little bit more time

'cause my last breath i will give

to show you the entire sky

in the clouds, with you, i will [lie] down

and

i promise one day you will open your eyes

and you will appreciate the reddest tones the sky has to offer

and perhaps, to the talokanil, the afterlife is not the underworld — after all, are they not already living in it? — but in the sky, in the wind, in the breeze. their battle cry "líik'ik, talokan!" ("rise, talokan!") — when their whole lives have been spent in the depths, being pushed further and further into the dark and the cold by the threat of discovery by the surface world — thus ironically takes on a heavier meaning.

and we blend in with the breeze

and we sail with the wind

the mentions of the breeze and the wind in the song may also be in reference to zamá (aka tulúm, the ancestral lands of fen's people) being home to the temples of the god of the wind (el templo del dios del viento) and the diving god (el templo del dios descendente) — both associated with kukulcán.

bonus!

this excerpt from miller (1974) gives us a glimpse into the worldbuilding that went into talokan:

"the incredible green blue color of the sea off the east coast symbolized rebirth" — the talokanil "died" and were reborn, one physical manifestation of this being their blue skin.

"representations of umbilical cords attached to newborn figures are prominant (sic) at tulum"; "the diving god shown prominantly (sic) in the inner building if structure 25 is also shown associated with the cosmic umbilical cord" — the film does focus quite a bit on the umbilical cord during the birth of k'uk'ulkan (the diving god).

"round structures are associated with kukulcan" — and what else is round? 😉 (the sun. i mean the sun. also, as far as i can tell based on repeatedly pausing the con la brisa movie clip, talokan appears to be built like a hollow globe, with the talokan sun rising from the bottom center point.)

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* i'm using the official english translation for accessibility and bc the original spanish is more vague about the "it" and uses the singular "tú" for "you" and its associated conjugations ¯⁠\⁠_⁠(⁠ツ⁠)⁠_⁠/⁠¯

[namor-shuri]

Marvel Studios: Voices Rising - The Music Of Wakanda Forever [Series]

Episode #1: "Nigeria: Past is Present" [available on Disney +] [w/ time stamps to follow along]

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▻ "Soundtrack's like this just don't happen anymore, with the high percentage of the songs that are embedded in the movie, and to this level of cultural specificity." - Ryan Coogler [Director] [0:00]

▻ "Here you have a story that intertwines people [Wakandans & Talokanil] of beautiful, rich ethnicities. What do you do with that as a composer? You use it!” - Letitia Wright [Princess Shuri] [0:14]

▻ We learn that Ryan Coogler and Ludwig Göransson first started off as friends, meeting one another at a film school [USC]. They then hit it off from their joint love of Swedish music. "They make magic together, and they seem to just pick up where the other has left off. They just have this seamless way of getting in each other's heads and hearts, and it ends up creating such incredible music.” - Lupita Nyong'o [Nakia] [1:51]

▻ The first Black Panther soundtrack is heavily inspired by Chadwick Boseman's Black Panther and his overall character. After his passing, they had to go back to square one. "I couldn't really imagine what the movie [soundtrack] would feel or look like without Chadwick in it. So, I'm basically going into this experience starting from scratch." - Ludwig Göransson [Composer] [2:42]

▻ They [Ryan and Ludwig] chose to go to Nigeria, Lagos to recruit artists and composers, it being a major hotspot for music in the world currently. "What Lagos is to music right now is what London was to music in its heyday. What New York was to hip-hop in the 90's. I genuinely believe the most exciting music in the world is being made in Lagos." - Seni Saraki [Music Consultant] [3:16]

▻ "Ludwig came to Lagos, because he, as a creative, understands the need to feed off of the energy of a particular place." - Fireboy DML [Artist] [4:04]

▻ There were a huge mixture of both contemporary artists [ie. singers, rappers, etc] and traditional artists [ie. musicians, instrumentalists for the score such as, but not limited to: Jedalo Percussion Ensemble, Fusion Nigeria] coming together to create this soundtrack. Instruments such as, but not limited to, the: sato drum, sakara drum, iyaálù bata, omele bata, kakaki horn, ojà flute, goje were all used on the traditional side. "Everyday we had different sessions with musicians that would come from different tribes from the Igbo, from the Hausa, from Yoruba and they would have their own instruments and different types of set of drums." - Ludwig Göransson [Composer] [5:57] Ryan and Ludwig are seen workshopping ideas of scenes and where musical segments may exist in the movie during these musical sessions [7:28]

▻ "He [Ludwig] and Ryan had been talking about it for years. ‘Let's write songs just for this film.’ There's no licensed tracks." - Monica Sonand [Score Supervisor] [9:39]

▻ “The generation that I'm in right now is speaking Afrobeats. We are all doing our own things individually, but as a unit together, we are pushing the culture. This is Afrobeats. This is Niger. This is Lagos. We're taking that old culture with us to the world." - Fireboy DML [Artist] [10:48] His song “Coming back for you" was used towards the end of the movie in the scene where Shuri is shown planting the heart-shaped herb [12:15]

▻ Ryan and Ludwig wanted to have artists who sang in Xhosa [the language of the Wakandans] so they did their research and flew out artists from South Africa to Nigeria to meet with them. The music style “Amapiano” had the sound that they were looking for, which plays on most South African radio. "It's so unique and it comes out of the club scene there [South Africa] and it makes you want to dance. What I love about that music [Amapiano] is that it feels futuristic to me." - Ludwig Göransson [Composer] [15:05]

▻ Ryan, Ludwig and artist Bloody Civilian are shown brainstorming Bloody’s beats pack she made for them, discussing where her track may exist. She showed them her song “How to kill a man. “I was very nervous, but the environment felt safe and everyone's creativity was just going. It didn't really feel like work at some point." - Bloody Civilian [Artist + Producer] [23:04] Her final track in the movie “Wake up" ft Rema is about "pushing yourself regardless of the things that try to pull you back." - Bloody Civilian [Artist + Producer] [24:33]

▻ Some of the African producers involved were ecstatic to have representation of a variety of African artists and sounds on this Marvel movie and it’s soundtrack. "I think the album sounds like Wakanda!" - Osarumen Osamuyi [Music Producer] [25:28]

▻ "I've been able to travel here [Nigeria] with Ryan, one of my closest friends. Doing something like this together where we can share this experience has been such a blessing." - Ludwig Göransson [Composer] [25:52] "It was really important for us [Ludwig and him] to come to West Africa. Myself being African-American, a lot of my heritage is from here like most African-Americans. The biggest take away for me is the personal connection that I have myself. I'm constantly looking at people saying ‘that person looks like my cousin, that person looks like my friend, that person looks like my brother.' That experience is one that's very different from being a black man that was born and raised in a predominantly white country. Folks born on the continent often take for granted to just walk down the street and everybody looks like them. That wasn't my truth. That wasn’t my reality. It's a very strange experience to fly for thousands of miles and land somewhere you've never been, but it feels like home. There's a beauty to that, but also a sadness that comes with it.” - Ryan Coogler [Director] [26:06]

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Soundtrack: [tracks referenced in this episode]

ʀɪʜᴀɴɴᴀ: ʟɪғᴛ ᴍᴇ ᴜᴘ / ʙᴜʀɴᴀ ʙᴏʏ: ᴀʟᴏɴᴇ / ғᴏᴜᴅᴇᴏ̨ᴜsʜ + ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ᴄᴏɴ ʟᴀ ʙʀɪsᴀ / ᴛᴇᴍs: ɴᴏ ᴡᴏᴍᴀɴ ɴᴏ ᴄʀʏ / ᴀᴅɴ ᴍᴀʏᴀ ᴄᴏʟᴇᴄᴛɪᴠᴏ + ᴘᴀᴛ ʙᴏʏ: ʟᴀᴀʏʟɪ’ ᴋᴜxᴀ’ᴀɴᴏ’ᴏɴᴇ / ғɪʀᴇʙᴏʏ ᴅᴍʟ: ᴄᴏᴍɪɴɢ ʙᴀᴄᴋ ғᴏʀ ʏᴏᴜ / ʙʟᴜᴇ ʀᴏᴊᴏ: ɪɴғʀᴀᴍᴜɴᴅᴏ / ʀɪʜᴀɴɴᴀ: ʙᴏʀɴ ᴀɢᴀɪɴ / ᴛᴏʙᴇ ɴᴡɪɢᴡᴇ + ғᴀᴛ ɴᴡɪɢᴡᴇ: ᴛʜᴇʏ ᴡᴀɴᴛ ɪᴛ, ʙᴜᴛ ɴᴏ / ᴅʙɴ ɢᴏɢᴏ + sɪɴᴏ ᴍsᴏʟᴏ: ʟᴏᴠᴇ & ʟᴏʏᴀʟᴛʏ [ʙᴇʟɪᴇᴠᴇ] / sɴᴏᴡ ᴛʜᴀ ᴘʀᴏᴅᴜᴄᴛ + ᴇ-40: ʟᴀ ᴠɪᴅᴀ / ᴀᴍᴀᴀʀᴀᴇ: ᴀ ʙᴏᴅʏ, ᴀ ᴄᴏғғɪɴ / ᴠɪᴠɪʀ ᴏ̨ᴜɪɴᴛᴀɴᴀ: ᴀ́ʀʙᴏʟᴇs ʙᴀᴊᴏ ᴇʟ ᴍᴀʀ / sᴛᴏʀᴍᴢʏ: ɪɴᴛᴇʀʟᴜᴅᴇ / ᴏɢ ᴅᴀʏᴠ + ғᴜᴛᴜʀᴇ: ʟɪᴍᴏɴᴄᴇʟʟᴏ / ᴄᴋᴀʏ + ᴘɪɴᴋᴘᴀɴᴛʜᴇʀᴇss: ᴀɴʏᴀ ᴍᴍɪʀɪ / ʙʟᴏᴏᴅʏ ᴄɪᴠɪʟɪᴀɴ + ʀᴇᴍᴀ: ᴡᴀᴋᴇ ᴜᴘ / ᴀʟᴇᴍᴀ́ɴ + ʀᴇᴍᴀ: ᴘᴀɴᴛᴇʀᴀ / ᴅʙɴ ɢᴏɢᴏ + sɪɴᴏ ᴍsᴏʟᴏ: ᴊᴇʟᴇ / ᴄᴀʟʟᴇ x ᴠɪᴅᴀ + ғᴏᴜᴅᴇᴏ̨ᴜsʜ: ɴᴏ ᴅɪɢᴀs ᴍɪ ɴᴏᴍʙʀᴇ / ɢᴜᴀᴅᴀʟᴜᴘᴇ ᴅᴇ ᴊᴇsᴜ́s ᴄʜᴀɴ ᴘᴏᴏᴛ: ᴍɪ ᴘᴜᴇʙʟᴏ

Score: [tracks referenced in this episode]

ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ᴡᴀᴋᴀɴᴅᴀ ғᴏʀᴇᴠᴇʀ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ᴛ’ᴄʜᴀʟʟᴀ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ʏɪʙᴀᴍʙᴇ! / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ɴᴀᴍᴏʀ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ + ʙᴀᴀʙᴀ ᴍᴀᴀʟ: ᴡᴇʟᴄᴏᴍᴇ ʜᴏᴍᴇ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ + ʙᴜsɪsᴡᴀ: ᴡᴇ ᴋɴᴏᴡ ᴡʜᴀᴛ ʏᴏᴜ ᴡʜɪsᴘᴇʀ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ + ᴊᴏʀᴊᴀ sᴍɪᴛʜ: ʜᴇ ᴡᴀsɴ’ᴛ ᴛʜᴇʀᴇ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ + ᴠɪᴠɪʀ ᴏ̨ᴜɪɴᴛᴀɴᴀ: sɪʀᴇɴs / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ɴᴀᴍᴏʀ’s ᴛʜʀᴏɴᴇ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ʏᴜᴄᴀᴛᴀ́ɴ / ᴠɪᴠɪʀ ᴏ̨ᴜɪɴᴛᴀɴᴀ: ᴀ́ʀʙᴏʟᴇs ʙᴀᴊᴏ ᴇʟ ᴍᴀʀ [ғɪʟᴍ ᴠᴇʀsɪᴏɴ] / ғᴏᴜᴅᴇᴏ̨ᴜsʜ + ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ᴄᴏɴ ʟᴀ ʙʀɪsᴀ [ғɪʟᴍ ᴠᴇʀsɪᴏɴ]

Episodes: 1 2 3

[d-criss-news]

[HQ] Darren Criss, Ludwig Göransson, Diane Warren, Carter Burwell and Justin Hurwitzand attend 4th Annual Society of Composers and Lyricists (SCL) Awards at Skirball Cultural Center on February 15, 2023 in Los Angeles, California. (Photo by Jerod Harris/Getty Images)

[namor-the-submariner-dot-net]

Wednesday Wonderful Merchandise

MONDO Marvel's Black Panther: Wakanda Forever - Original Score 2 Disc Vinyl LP

An absolute triumph of film music, Grammy®-winning Ludwig Göransson worked tirelessly for years on his follow up to the gargantuan achievement that was his Academy Award®-winning original score for the first film. Traveling to Senegal, Lagos, Mexico and collaborating with talented artists from each region to authentically capture instruments and vocalists to craft the masterful sonic landscape that comprises the battle between the underwater Talokan and the country of Wakanda. 

The iconic “T'Challa” theme is still present, but this score is anchored by Ludwig's truly inspired new theme for Shuri, a piercing melodic synth with a haunted melody that, much like the character in the film, goes through a journey to find itself in the shadow of grief. The music of the Talokan is lush and powerful in its own right, with its centerpiece, “Con La Brisa” featuring vocals by Foudeqush, being a standout in an album full of masterpieces. There are a few other song/score hybrids - featuring Toby and Fat Nwigwe, Vivir Quintana - something that Ludwig has been proudly incorporating into his releases since his score album for Creed.

Featuring original artwork by Mateus Manhanini and pressed on 2x 180 gram Mondo exclusive color vinyl (also available on 2x 180 gram black vinyl) this is one of the best scores of 2022, and we are incredibly honored to feature it in our on-going Marvel Music series.

Pre-Order at Mondo. Release date July 2023

This is the score, not the soundtrack, but I don't think they released the score on CD, so this may be the only physical release of the score.