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RatingPG-13 Durasi 129 Min Rilis28 Jun 2019 BahasaČeský, English, Italiano Anggaran$ Pendapatan$ PemainAdrian Mozzi, Al Clark, Aleksandrs Petukhovs, Alessandro Giuggioli, Alessandro Sciarra, Amanda Musso, Andrew Dunkelberger, Angourie Rice, Anjana Vasan, Anna Benamati, Annie Pisapia, Anthony Molinari, Antonín Masek, Aristou Meehan, Avondre Beverley, Ben Mendelsohn, Blair Barnette, Bradley Wj Miller, Brendan Murphy, Brian Law, Bruno Bilotta, Cailan Robinson, Camille Kinloch, Charlie Rhea Esquér, Chris Hyacinthe, Claire Rushbrook, Clare Dunne, Clay Pel-is, Cobie Smulders, Cynthia Garbutt, Daham Kandanarrachchi, Dale Wilder, Daniel Olson, Daniel Rennis, Daniel Ryves, Dante Brattelli, Daphne Cheung, Darren Lee Campbell, Davina Sitaram, Dawn Michelle King, Dian Cathal, Emily Ng, Emily Tebbutt, Emmanuel Rodriguez, Eric Patrick Cameron, Evelyn Mok, Faith Logan, Ferroz Fernandez, Gavin Lee Lewis, Géraldine Lamarre, Giada Benedetti, Gianni Calchetti, Giuseppe Andriolo, Graham Burton, Hannah Kurczeski, Hélène Cardona, Hemky Madera, Hiten Patel, Ilya Tank Shilov, Smoove, Simmons, Jacob Batalon, Jake Cerny, Jake Gyllenhaal, Jake Hanson, Jan-Paul Buijs, Jaylen Davis, Jeff Bridges, Jeroen van Koningsbrugge, Jessica VanOss, Jimena Larraguivel, Jivan Xander Ramesh, Jo Wheatley, Joakim Skarli, Joe David Walters, Jon Favreau, Jorge Lendeborg Jr., Joseph Long, Joshua Sinclair-Evans, Julia Mollin, Karen Parks, Karen-J Sear, Kath Leroy, Ken Byrd, Keon Kendrick, Kevin Daigneault, Komal Charania, Kristen Alminta, Kristianne-Kaith Domingo, Leonys Delossantos, Lesdy Vanessa, Lucas Antoine Starrets, Luigi Boccanfuso, Luigi Petrazzuolo, Lukáš Bech, Maria Alexandrova, Marisa Tomei, Martin Polak, Martin Starr, Massi Furlan, Meagan Holder, Michael de Roos, Michael Hennessy, Michael Iacono, Mike Ray, Monae Samone, Nicholas Gleaves, Nicholle Hembra, Numan Acar, Oskar Ulvestad, Paolo Braghetto, Pat Kiernan, Patrick Holly, Paul Slim, Peter Arpesella, Peter Bankolé, Peter Billingsley, Peter Dawson, Petr Opava, Pierre Bergman, Ray Rosario, Remy Hii, Ria Fend, Rich Lawton, Robert Downey Jr., Rocco Wu, Roman Ibragimov, Ruth Horrocks, Sam Chuck, Samantha Mishinski, Samuel L. Jackson, Sean Coleman, Sebastian Viveros, Sergio Pierattini, Shafali Rani Chung, Shari Abdul, Sharon Blynn, Sitara Attaie, Sofia Renee, Sokol Cahani, Sonia Goswami, Susanne Schraps, Tatiana Lunardon, Theo Ip, Thomas Goodridge, Timothy Christian Jansen, Tina Simmons, Tiziana Coste, Tom Holland, Toni Garrn, Tony Mardon, Tony Revolori, Tuwaine Barrett, Tyler Luke Cunningham, Tyrone Love, Victoria Coburn, Vincent Angel, Vincent Frattini, Yasmin Mwanza, Zach Barack, Zendaya, Zoha Rahman Post Views 1,511 Film Terkait Composer Daniel Pemberton pushed a few boundaries and “made something really creative and different” when he scored 2018’s “Spider-Man Into the Spider-Verse.” When he returned to score the sequel, “Spider-Man Across the Spider-Verse,” he knew he would have to “push it as far as we can go.” Pemberton says he had to build the score from the ground up, which was complicated. “You’re trying not to make a score that sounds like other film scores. You’re trying to invent your own language.” Inventing that language took experimentation, research and failure. He explains, “I spent two years researching and developing this score, going through ideas, coming up with concepts and throwing them out.” The first piece he wrote was a sketch that ended up becoming the cues that open and end the film. “You’re making a score that jumps around different worlds and characters, and everyone has got to have a theme and melody and sound, and yet, they’ve all got to interact with each other.” With Gwen Stacy Hailee Steinfeld, Pemberton wanted to capture her “grace and balletic qualities.” He wanted a sound that reflected her rock band background and the look of her world, which was dreamy with drippy watercolors. “That was a big influence on how that should feel.” He gave her a “90s, indie-synth, pop band sound. Her sound is a floaty synth sound, and that’s her melody.” In comparison, Miguel O’Hara Oscar Isaac, a Spider-Man who lives in a futuristic Nueva York in the year 2099, was abrasive and technological. Pemberton says, “It’s very electronic, techno and synthesized.” But landing on Gwen’s cue was a process of trial and error. “If you look at Gwen, she moves very gracefully and very lightly compared to Miguel, who’s very heavy. So, you’re trying to reflect that. It was tons of approaches until we found the right one. I went through a million synthesizer sounds,” he says. “Early on, I tried it with female vocals, but it didn’t work. You try things out on this film, but it’s not good enough, and it’s a long experimentation.” Gwen’s emotional storyline with her father was about capturing a sound of warmth. “It’s only five seconds when her dad hugs her, but I spent an extortionate amount of time on it. When the hug comes in, it’s a full orchestra for one chord but it makes that moment land.” For Hobie Brown Daniel Kaluuya, the rocker Spider-Punk, Pemberton gave him “feedback guitars, heavy drums and distorted bass. It’s punk.” Meanwhile, the sound of Pavitr Prabhakar Karan Soni, Spider-Man India, was heavily influenced by Indian instruments and the 1982 album “Ten Ragas to a Disco Beat” by Charanjit Singh. “It was insanely ahead of its time and was this futuristic Indian record. It sounds like acid house.” As for Shameik Moore’s Miles Morales, his sound was steeped in hip-hop culture. “The record-scratching element that we developed in the first film was something we just expanded on for this.” Listen to the score below.

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