Marc Streitenfeld

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Marc Streitenfeld (* around 1974 in Munich ) is a German film composer . He gained notoriety through his repeated collaboration with the British film director Ridley Scott (including A Good Year , American Gangster , Robin Hood , Prometheus ).

biography

Marc Streitenfeld was born the son of an architect and grew up with his family in the Munich Olympic Village . As a teenager, he practiced guitar for five to six hours a day and dreamed of pursuing a career as a rock musician . After graduating from high school, he studied political science and philosophy (according to other information, he gave up a place at the German School of Journalism ). However, he gave up studies and traveled to Los Angeles as a backpacker at the age of 19 . There, the musical autodidact completed an internship with the German film composer Hans Zimmer on the recommendation of a distant friend .

Streitenfeld worked as an assistant for Zimmer for three to four years and was involved in projects such as Tony Scott's Crimson Tide - In Deepest Danger (1995), Michael Bay's The Rock - The Rock of Decision (1996), James L. Brooks ' Better it couldn't be ( 1997) or Terrence Malick's The Thin Line (1998). After resigning and spending several months traveling and photography, Streitenfeld was hired again by Zimmer as the music editor for John Woo's action film Mission: Impossible II (2000). Streitenfeld was entrusted with similar tasks for other commissioned works by Zimmer such as Ridley Scott's directorial work Gladiator (2000), Hannibal , Black Hawk Down (both 2001), Kingdom of Heaven (2005) and Edward Zwick's Last Samurai (2003).

Although Streitenfeld said he never wanted to be a composer and did not compose himself, he was commissioned by Ridley Scott to create the film music for his comedy A Good Year (2006). After his first independent film composition, he worked again with Scott on his films American Gangster (2007), The Man Who Never Lived (2008), the historical epic Robin Hood (2010) and the sci-fi thriller Prometheus - Dark Characters (2012 ). His international breakthrough was made possible by American Gangster , whose music he provided with dark soul and blues elements as a reminiscence of the 1970s. In 2008, the film brought Streitenfeld a nomination for the British Academy Film Award and the World Soundtrack Award for "Discovery of the Year". "Ridley is extremely open to any idea I have musically and still always knows exactly where to go," said Streitenfeld about the collaboration with the British director. For The Man Who Never Lived , the composer oriented himself on Far Eastern melodies and rhythms, while Jake Scott's family drama Welcome to the Rileys used soft piano tones.

From 2004 to 2013 Marc Streitenfeld was in a relationship with the French-American actress Julie Delpy . The relationship resulted in a son (born January 2009). Streitenfeld lives alternately in Paris and in Los Angeles, where he has his own recording studio .

Filmography (selection)

Awards

  • Golden Reel Award 2006: nominated in the category Best Sound Editing - Music for Kingdom of Heaven
  • BAFTA Award 2008 : nominated in the category Best Score for American Gangster
  • World Soundtrack Awards 2008: Discovery of the Year for American Gangsters

Web links

Individual evidence

  1. a b c d cf. Up, Jenny: From the Olympic village to the Hollywood Olympus on Spiegel Online, November 24, 2008 (accessed November 30, 2010)
  2. a b c Sachse, Katrin: The way to Olympus . In: Focus , November 5, 2007, No. 45, pp. 68-70
  3. a b c Zander, Peter: A German master of film music . In: Die Welt, October 21, 2008, No. 247/2008, p. 25
  4. cf. Interview with Scott Gwin at cinemablend.com, November 27, 2007 (accessed November 30, 2010)
  5. cf. Coyle, Jake ( AP ): Review: Gandolfini, Kristen Stewart in 'Rileys' . October 27, 2010, 02:44 AM GMT (accessed via LexisNexis Economy )
  6. cf. Mutius, Franziska von: Julie Delpy with a German friend in the cinema . In: Berliner Morgenpost , January 6, 2008, No. 5/2008, p. 30
  7. cf. Sachse, Katrin: Franco-German trinity . In: Focus , No. 19, p. 42