Films, talks & events
Tales of the Future
31 August — 1 November 2019
Eye asked contemporary musicians and composers to use that legacy as inspiration.
What would remain of Blade Runner if you take away Vangelis’ synthesizers? Or try to imagine Tarkovsky’s SF classic Solaris without the electronic score. With Tales of the Future, Eye focuses on the impact of the synthesizer on film music and sound design.
Tales of the Future makes resoundingly clear how the synthesizer developed into an essential instrument for film music. Palmbomen II, who is strongly influenced by 1980s synthesizer music, performs to two episodes of the legendary TV series Miami Vice (1984-1989). Electro artist Torus performs his score for Andrei Tarkovsky’s classic Stalker (1979). Use Knife, alias Stef Heeren and Kwinten Mordijck, accompany La coquille et le clergyman in a collaboration with ADE.
Electronic sounds were at first mainly used for popular SF films in the 1950s (Forbidden Planet). That the synthesizer was also able to make a major contribution to the atmosphere and meaning of classic masterpieces became obvious with the scores for Tarkovsky’s Solaris and Stanley Kubrick’s A Clockwork Orange. And there is of course also a reason why Vangelis’ score for Blade Runner still continues to inspire electro musicians.
The programme includes Forbidden Planet (1956), the first film with a fully electronic film score, Miami Vice (1984) with a performance by Palmbomen II, Escape from New York (1981) and cult favourite De lift (1983), with a synthesizer score by Dick Maas himself. Thijs Havens and Martin de Ruiter play a new synthesizer-heavy score for the silent film classic Zemlja (1930).
Electro artist Torus performs live his score for Andrei Tarkovsky's Stalker (1979). The Belgian duo Use Knife gives a live electro twist to the hallucinating silent film classic La coquille et le clergyman (1927). Also on: Under the Skin (2013), Drive (2011), Scarface (1983) and The Social Network (2010).
Support Eye. Join the Eye Society.