He has also written additional music for such films as Wonder Woman, Fifty Shades of Grey, Fifty Shades Darker, Fifty Shades Freed, Big Eyes, Winter’s Tale and American Hustle, and his music was featured in David O’Russell’s Joy. He collaborated with Gregson-Williams on Shrek The Third, Flushed Away, The Number 23 and Gone Baby Gone. In 2006, Buckley moved to Los Angeles where he began working with Harry Gregson-Williams.īuckley’s recent film scores include Paul Greengrass’ Jason Bourne, Shane Black’s The Nice Guys and Ben Affleck’s The Town. He went on to study at Cambridge University where he later taught. MARTIN KREUTZ, late 20s, opens the door and finds BOURNE. A KNOCK on a door beautifully, heavily lacquered with centuries of paint. And, sitting on the upright piano against the wall, a framed PHOTO of MARIE.
I couldn’t be jokey, but I had to let the audience know they were going to enjoy themselves.” The main title visuals are stunning, and CBS meticulously documented how the explosive sequence was captured.Īccording to his bio, the British-born Buckley‘s earliest adventure in film music was as a cathedral choirboy performing on Peter Gabriel’s score for Martin Scorsese’s The Last Temptation of Christ. A WORK TABLE, covered with sheet music, music paper, pencils. And I knew I had to - as I often do for this show - navigate between being comedic and serious. It’s amazing to have that space.” Buckley said he was apprised the title sequence would be build around the concept of explosions, “so I knew there would have to be an enormity to what I was doing.
While The Good Wife title sequence was about seven seconds, The Good Fight is more like 50, Buckley explained to a German reporter at the Emmys, noting it gives the show “a musical identity, a branding that starts to settle in people’s minds. /music/Dzheyson20Born20(Jason20Bourne)/John20Powell20David20Buckley20-20A20Key. Moby told Scotlands Sunday Herald in 2002 that the tune is a romanticized account of debauchery, 'the darker. In 2007 it re-entered the UK Top 50 after its use in The Bourne Ultimatum movie. When released as a single in 2002 this peaked at 39 in the UK. Brilliant nevertheless.” On another thread a fan wrote “I cry listening to it.” Its from the Jason Bourne movies: The song is used as the end title theme in each film. A clever fusion of C.17th and C.21st music.” Another observed that Buckley, who was also the composer for Michelle and David King’s The Good Wife, co-opted the theme from one of his episode scores from that earlier series: “It’s a revamped version of the background score used in The Good Wife, se06 ep 21, 39th min (when Alicia makes space in Zach’s bedroom for the door cum desk-top).
David Buckley has adapted it and given it a modern twist. The piece has drawn rave reviews from fans on YouTube. The harpsichord-like notes that open the piece, joined by violins, get things off to a very sincere Masterpiece Theatre-style start that is quickly turned on its head as cymbals crash and a rousing choir kicks in while vases, computers and telephones start blowing up.Īmong the user comments on Abed Nadir’s YouTube page: “Monteverdi used this descending figure in many of his compositions - see Dixit Dominus from the Vespers of 1610. It lost to Stranger Things, but it should get another shot this year. David Buckley’s main title theme music for The Good Fight earned CBS All Access its first Emmy nomination last year.