![]() Before long, he had the opportunity to work with fellow film students on his first picture, 1982’s The Dorm that Dripped Blood. ![]() Under the watchful eye of acclaimed composer David Raskin ( Laura), Young honed his skills through trial and error. Inspired by the Hollywood maestro, Young soon entered the UCLA Film School to study film music. Christopher Young in Scored to Death The Young-Raimi Connection The first notes that I heard were from the Mountain Top and Sunrise music from the suite to Journey to the Center of the Earth, and I went, ‘Holy Christ! What the hell is this?’ … Little did I know that when I put that needle on that track that it really was going to change my life. I went back home, opened up that record, put it on the little stereo record player I had, and placed the needle on it. That all changed however due to one fateful day at his local record store where he randomly bought a Phase 4 Stereo LP called “The Fantasy Film World of Bernard Herrmann.” After finishing his post-graduate work at North Texas State University, Young moved to Los Angeles with a foggy idea of where his musical path would lead. Humble BeginningsĪ lifelong musician and gifted jazz drummer, Young’s passion for music fueled him to pursue the craft through college. ![]() It’s a shining example of Young’s savvy, reflexive approach to film scoring. A marvelous piece of music, Drag Me to Hell serves as a perfect cinematic partner for Raimi’s unique style. One of these sonic soldiers due for a promotion is Young’s score for Sam Raimi’s 2009 film, Drag Me to Hell. But there, peeking out from the shadows, are a veritable army of stunning scores worthy of praise. With more than 130 credits to his name, it’s easy for the big-name titles like Hellraiser, Sinister, and A Nightmare on Elm Street 2: Freddy’s Revenge to hog Young’s horror career spotlight. From heartbreaking dramas like The Shipping News to tense thrillers such as Copycat and big-budget superhero joints like Spider-Man 3, there is no film and no genre that Young cannot elevate with his music. While perhaps best known for his masterful Hellraiser score, Young’s versatile and thoughtful approach to film scoring has garnered him an impressively diverse resume. For this installment, Rachel digs into the intelligent design of Christopher Young’s Drag Me to Hell score.Ĭomposer Christopher Young is a true musical force to be reckoned with. The sacred ritual of listening to music on wax is about to begin. So, light the candles, put on your headphones, and get ready to drop that needle. Covering only scores that have been released on vinyl, it’s a conversation about the intersection of music theory, composer style, film history, and the art of deep listening. Welcome to Terror on the Turntable! In this monthly column, join Rachel Reeves as she explores the powerful and unholy alliance that exists between horror films and their scores. ![]()
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