Beltrami Enlivens Remake Of “Carrie”

Composer Marco Beltrami brings his horror franchise expertise to Carrie, the remake of the horror movie classic based on the Stephen King novel, in theaters October 18, 2013,  Albert Tello of Costa Communications told me. Directed by Kimberly Pierce (Boys Don’t Cry), Carrie stars Chloë Grace Moretz as the tortured teen pushed into using her supernatural powers to wreak havoc on her bullying peers and overbearing mother. Beltrami has scored many successful horror films including this year’s box-office smash World War Z and the Scream franchise.

 Beltrami took a unique approach to scoring Carrie, creating music that focused on Carrie’s emotional turmoil rather than the haunted-housed-frights type score commonly heard in horror films. Beltrami comments, “I’m working from the girl’s perspective and less of a horror picture. To me it’s like a coming of age story for this girl. Even though she has this possession or superpower, she’s almost like a force of nature.” Beltrami’s score lends Carrie a unique take on both the adaptation of Stephen King’s novel and on the entire horror genre.

The movie opens in theaters October 18th, 2013.

Marco Beltrami is an award winning composer who built his reputation as a genre innovator with non-traditional horror scores for World War Z, the Scream franchise and Don’t Be Afraid of the Dark. Beltrami’s musical palette includes virtually all film genres. He has received two Oscar nominations for Best Original Score, for Hurt Locker and 3:10 to Yuma.

Additionally, Beltrami has received two Critic’s Choice Award nominations, and he was Emmy nominated for Outstanding Music Composition for a Series for The Practice.

Last year, he won the Golden Satellite Award for Best Score from The International Press Academy for Soul Surfer.  Recently he scored Snowpiercer, currently in international release, and the upcoming Seventh Son, in theaters January 14, 2013.

What’s up next? He is currently reteaming with actor/director Tommy Lee Jones for The Homesman.

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