Deadline fjallar um tónlist Jóhanns Jóhannssonar við kvikmyndina The Theory of Everything, sem almennt þykir líkleg til að hljóta fjölda Óskarstilnefninga, þar á meðal fyrir tónlist Jóhanns. Scott Feinberg hjá The Hollywood Reporter setur Jóhann í annað sætið sem þýðir að hann telji tónskáldið nokkuð öruggan um tilnefningu.
Í grein Deadline segir meðal annars:
One of the key cinematic elements in Theory that props this period atmosphere is Johann Johannsson’s score, which specifically harps on neo-classical themes more than the decades’ respective earmark sounds of the British invasion, punk music and synthpop.
“ Time is a huge motif in the film, which is colorful, and the music had to reflect that. ”
“The music had to be timeless,” says Johannsson aboutTheory’s score. “Time is a huge motif in the film, which is colorful, and the music had to reflect that.”
As such, Johannsson settled on the piano as the chief instrument to express the emotions of Hawking and his wife Jane (portrayed by Felicity Jones).
“It’s a very expressive instrument, but it is precise,” adds the Icelandic composer, who lives in Berlin. “It has a mathematical-like quality, which reflects the core of the film.” While Johannsson played some piano on the score—recorded at London’s Abbey Road studios—the instrument was chiefly played by Scottish pianist Tom Poster, who performed along with a 65-piece orchestra.
One of the more prominent areas where Johannsson used piano was during the opening cue of the film, titled “Cambridge 1963,” during which we hear a four-note key sequence that is then echoed vibrantly by the orchestra. It proved quintessential for the composer when it came to capturing Hawking’s lively college day spirit: We see Hawking on his bicycle, gleefully speeding through the streets.
“It’s a kinetic, energetic track which becomes the building block of the score,” adds Johannsson.