Tyler met Lawrence and editor Wayne Wahrmann during the summer of 2004 and showcased an early cut of the film which he found "terrific" and told them some ideas of what he wanted to accomplish if he was to compose the score. A week later, he was brought onboard to score music forConstantine. Coming up with the initial ideas, he decided to write themes forJohn Constantine where he wanted to convey the feeling of dread and ancient religious beauty while acknowledging the film noir quality of the protagonist. Lawrence was supportive throughout Tyler's composition and wanted to bring his own style to the film.[1]
By January 2005, Tyler recorded 110 minutes of music at theTodd-AO Scoring Stage.[2] However, some of the studio executives note the score was too dark and needed some humor. Due to the time constraints, the producers brought on Badelt to collaborate on the new material, while Tyler would conduct the score and mix it with the rest of the material. Tyler noted that Badelt's score had a modular quality, and had brought an electronic element to the score which was not previously there, while also using samplers to the parts composed afterwards.[1]
Jonathan Broxton ofMovie Music UK wrote "Ultimately, the soundtrack album of Constantine is a bit of a mess, and it's a great shame that Tyler's score as originally envisioned will never legally see the light of day. There are still a number of excellent moments fighting to emerge from the watered-down, Badeltised miasma, and admirers of scores such as Darkness Falls or Terror Tract will certainly find things to enjoy. It's just that, as you listen, you can't help wondering how much better it would have been had Warner Brothers not stuck their grubby little fingers into the pot. Again."[3] Christian Clemmensen ofFilmtracks wrote "Tyler's music is nothing earth-shattering, but it's certainly intriguingly satisfying and would have translated much better onto album without the additions of Badelt's rather cheapening contemporary influences."[4] James Christopher Monger ofAllMusic wrote "Tyler does little to branch out from the trappings of the traditional modern thriller soundtrack, but it's serviceable enough that it never interrupts the flow of the film; rather, it barely registers, which depending on your opinion of how a score should interact with its respective piece of celluloid is either a good thing or a bad thing."[5] Brian Lowry ofVariety called it a "brooding score".[6]A. O. Scott ofThe New York Times found the score to be "thrilling".[7]
Orchestration – Brad Warnaar, Dana Niu, Robert Elhai
Orchestra conductor – Brian Tyler
Orchestra contractor – Sandy DeCrescent
Concertmaster – Endre Granat
Instruments
Bass – Bruce Morgenthaler, Christian Kollgaard, David Parmeter, Drew Dembowski, Edward Meares, Gary Lasley, Michael Valerio, Neil Garber, Nico Carmine Abondolo, Nicolas Philippon, Oscar Hidalgo, Richard Feves, Steve Edelman, Susan Ranney, Timothy Eckert, Tim Powell, Trey Henry
Bassoon – David Riddles, Michael O'Donovan
Cello – Andrew Shulman, Anthony Cooke, Armen Ksajikian, Cecilia Tsan, Christine Ermacoff, Dane Little, David Low, David Speltz, Dennis Karmazyn, Douglas Davis, Jodi Burnett, John Walz, Kevan Torfeh, Larry Corbett, Martin Tillman, Matthew Cooker, Paul Cohen, Paula Hochhalter, Roger Lebow, Sebastian Toettcher, Stan Sharp, Steve Erdody, Steve Richards, Timothy Landauer, Todd Hemmenway, Trevor Handy, Victor Lawrence
Clarinet – Gary Bovyer, James Kanter, Ralph Williams, Steven Roberts
Electric cello – Martin Tillman
Flute – Chris Bleth, David Shostac, Geraldine Rotella, Heather Clark, James Walker, Louise Ditullio, Stephen Kujala
Guitar – George Doering
Harp – Jo Ann Turovsky
Horn – Brian O'Connor, Daniel Kelley, David Duke, Elizabeth Cook-Shen, James Thatcher, John Reynolds, Kristy Morrell, Kurt Snyder, Mark Adams, Phillip Edward Yao, Richard Todd, Steven Becknell
Keyboards – Bryan Pezzone, Michael Lang, Randy Kerber
Percussion – Alan Estes, Robert Zimmitti, Donald Williams, Emil Radocchia, Gregory Goodall, Peter Limonick, Steven Schaeffer
Trombone – Alan Kaplan, Alexander Iles, Andrew Thomas Malloy, William Reichenbach, Phillip Teele, Steven Holtman
Trumpet – Jon Lewis, Rick Baptist, Warren Luening
Tuba – Fred Greene, Tommy J. Johnson
Viola – Andrew Picken, Brian Dembow, Cassandra Richburg, Dan Neufeld, Daniel Seidenberg, Darrin Mc Cann, David Walther, Denyse Buffum, Jennie Hansen, John Scanlon, Keith Greene, Marlow Fisher, Matthew Funes, Michael Nowak, Piotr Jandula, Rick Gerding, Robert Becker, Robert Berg, Roland Kato, Samuel Formicola, Shanti Randall, Shawn Mann, Simon Oswell, Steven Gordon, Thomas Diener, Victoria Miskolczy
Violin – Aimee Kreston, Amy Hershberger, Ana Landauer, Anatoly Rosinsky, Bruce Dukov, Clayton Haslop, Darius Campo, Dimitrie Leivici, Eric Hosler, Eun-Mee Ahn, Franklyn D'Antonio, Irina Voloshina, Jackie Brand, Jay Rosen, Jeanne-Skrocki Evans, Joel Derouin, Julie Ann Gigante, Katia Popov, Kenneth Yerke, Kevin Connolly, Laurence Greenfield, Liane Mautner, Lisa Sutton, Marc Sazer, Marina Manukian, Mario De Leon, Michael Markman, Michele Richards, Miran Kojian, Miwako Watanabe, Natalie Leggett, Norman Hughes, Peter Kent, Phillip Levy, Rene Mandel, Richard Altenbach, Roberto Cani, Robin Olson, Roger Wilkie, Sara Parkins, Sarah Thornblade, Shalini Vijayan, Sid Page, Song-A Lee-Kitto, Sungil Lee, Tamara Hatwan
.jpg)
