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"The best British thriller since The Long Good Friday." (Screen International). |
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"(Mark Ayres's) theme tune to The Innocent Sleep is enormously attractive... Tuneful, appealing and soothing, they've got a winner, especially as sung by Lesley Garrett." (Richard Baker, Classic FM Chart Show, Saturday 20th January 1996). |
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"...a masterful thriller...a standout score...one of the best films at the festival..." (Sharon Knolle, The Seattle Film Festival, May 1996). |
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"...a suitably tense, underworldly hour of taut-string menace...the soprano recalls the eerie unease of Michael Nyman's The Cook, The Thief, His Wife And Her Lover." (Empire). |
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"Mark Ayres' first feature film score is quite an eye-opener...the pace and scope of this score is very impressive indeed...what I found particularly impressive was how unsettling and unnerving Mark's music is. He really has got under the skin of this film..." (Music from the Movies). |
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"(Mark) Ayres quite simply stuns with this, his first orchestral score...one of the best British film scores in years. The action cues are incredible, with spirals of string and explosions of brass conveying a great sense of motion and intensity. Larger than life, Ayres' score is an absolute must..." (Gary Kester, The Unofficial Silva Screen www Site). |
![[Mark Ayres & Scott Michell]](MA_SM.jpg)
Are the action sequences exciting? Will an audience be moved by the emotional scenes? In short, does the film work?
All of these questions ran through my mind when we had finished editing The Innocent Sleep. But one very important thing was missing at that stage. Something that could help to provide the answers. The music.
Only one composer was ever in my mind to compose the music for my first feature film. As he had already written the powerful electronic incidental music for my short film Seeds, I was in no doubt that Mark Ayres was the man for the task.
My rather simplistic remit to Mark was that I wanted the score to be "BIG"! We both agreed that British films tended to be a little timid in their soundtracks, and that we wanted to test the mettle of the country's cinema speakers. To this end, after Mark had spent three weeks as a virtual prisoner in his attic studio, we assembled a large classical orchestra and began the recording.
From the moment the majestic sweep of strings led us into "Cavani Flies In", I knew that Mark had delivered a score even beyond my expectations. There were all my 'big' moments - "Motorbike Chase" and "Arson", But there were also some beautiful character themes and sad laments - all crowned by the stunningly original operatic theme sung by Lesley Garrett.
Scott Michell.
![[John Hannah and Annabella Sciorra]](JH_AS.jpg)
After many years spent writing music for television programmes, sell-through videos and training films, it was nice to finally get a chance to score a feature. And The Innocent Sleep was a very enjoyable first feature to work on.
Scott Michell wanted a fully orchestral and highly 'cinematic' score - wide screen music for his wide screen movie. I saw the opening of the film, where the camera follows down-and-out Alan into cardboard city, as almost operatic: a kind of Dantean descent into a hell of burning braziers and damp hovels. So in trying to find a 'different' approach, and as I'd always wanted to work with Lesley Garrett, I suggested an operatic piece which would reflect the loneliness of our hero and become a lament for the abandoned homeless. And the theme became the basis for the entire score. The text (sung in Italian) is based on a passage from Shakespeare's Macbeth: "Methought I heard a voice cry 'Sleep no more...' - the innocent sleep, ...The death of each day's life, sore labour's bath, Balm of hurt minds, great nature's second course...".
Mark Ayres
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