Deep Water (Dybt Vand) is a suspense thriller shot in Denmark by the renowned Danish director Ole Bornedal (Nightwatch). The story is an intense character piece as it chronicles a prominent, honest man's descent into the basest human survival impulses as he gets entagled into a web of deceit and greed. In the music I tried to reflect this character distortion by taking a simple motive and developing it contrapuntally into a cacophonic brangle. This thematic development is perhaps most completely stated in the "Deep Water Overture."

The film, while very classical in its subject matter and setting, is quite radical in its visceral impact and Ole is a master at keeping the viewer's comfort zone constantly upset. So too, I thought the music should have a traditional, refined reference and depart into the more primitive and disorienting. (In fact the listener may notice the actual use of Bach's Eb cello suite reharmonized towards the ending reconciliation of the film - we are back to civilization, yet the familiar setting can never be viewed the same for those who just witnessed the limits of their humanity.) The inclusion of "techno" as a separate element of the score was used as a part of the underworld accompaniment, and in particular, the heroine's involvement in a phone sex operation. 

The score was recorded January 1999 by Danish Radio Orchestra. 

- Marco Beltrami (11/23/1999) 

I began working ideas for "Dina" over a year ago when Ole Bornedal called me to discuss the project and then sent me the script. I was immediatelly enthralled by the project - the scope and the subject matter are a composer's dream - but also a bit nervous how would I incorporate Norwegian elements, root it in classical tradition, and yet make it modernistic at the same time. Fortunately I had some time, and the midnight sun and aqua-vit of the northern Norwegian summer lent me inspiration.

I feel extremely fortunate and honored to have had the opportunity to work with the people I did on this production. The Gürzenig Orchestra brought the score to life in the most vibrant and elegant manner, the cello playing of Maria Kliegel superbly lifted the sublime passion of Dina; the performance by Jorane simply had me (and still has me) mesmerized. It is not often on a production when everyone comes together and shares a common vision. The strength of Ole Bornedal's work focused the production of this score and created the most unique and memorable film scoring experience.

I hope you enjoy listening.

- Marco Beltrami (2/6/2002, Los Angeles)

When John Moore called me in the summer of 2005 to tell me he was remaking The Omen and wanted me to compose the score, I felt both excited and nervous at the same time. Since the new movie was intended to be faithful to the original, and the original score was written by Jerry Goldsmith for the The Omen in 1976 earned him an Academy Award, I at first thought, "If its not broke, don't fix it."

However, on second thought, I realized that this was an incredible opportunity to pay hommage to my old teacher. Rather than merely re-orchestrating his work, it would be far more rewarding to use the techniques that Jerry had taught me and which he employed so well in the original Omen ... and perhaps also throw in a quote here and there. 

Jerry was a master of economy. The 3-note motif that he devised for Damien provides the fundamental rhytmical and melodic basis for his entire score. Similarly, I needed a simple idea which could be developed throughout the score. It came in the form of the sound of a piano pedal simply being depressed and released. From that simple rhytm came a 4-note melodic fragment which then could also be transformed into the family theme; and when the notes are rearranged, we have the descending portentous investigation of mystery. 

I hope fans of Jerry's original Omen score will find this collection of cues a logical connection of ideas. It is the utmost respect to my old teacher that I celebrate his compositional ingenuity with this album.

- Marco Beltrami (4/2002, Los Angeles)