Amelia Warner
Neo-classical composer Amelia Warner is known for her work on ‘Mary Shelley,’ ‘Wild Mountain Thyme,’ ‘Mr. Malcom’s List,’ and the upcoming Jerry Bruckheimer produced film ‘Young Woman and the Sea,’ starring Daisy Ridley.
Her stunning orchestral scores infused with electronic elements have led to several awards, including Breakthrough Composer of The Year’ at the International Film Music Critics Association (IFMCA) Awards, and nominations in the ‘Discovery of the Year’ category at the World Soundtrack Awards, a Hollywood Music in Media Award, and recognition as a nominee for the ASCAP Composers’ Choice Awards.
Movie-wave.net – James Southall
“There’s a lovely, lilting main theme introduced in “Welcome to Ireland” with swooning strings complete with Gaelic accompaniment; bittersweet comedy in tracks like “Cemetery”; the occasional Irish jig (including one by Brian Byrne, “Shanley’s Delight”, which is quite delightful); more urgent drama as the romance is threatened in “The Phone Call” and “Open the Shutters”; and the inevitable sweeping finale, “The End”. It’s all very pleasant and very easy to listen to.”
The Young Folks – Allyson Johnson
“Elevated by a score that bursts from the screen, engulfing the viewers into a cocoon of atmospheric bliss.” “From the score by Amelia Warner that pitches itself to the grassy hills and cloudy skies, a score that matches the emotional volatility of its characters…”
Selig Film News – Gadi Elkon
“The sweet score by composer Amelia Warner is another treat as it weaves into sorrowful moments just as smoothly. She helps capture the old world feel of John Patrick Shanley’s mind.”
Cineconcerts.com
“The score is so fun and playful, but also really emotional at times, very tender and personal”
Sci-fi-online.com – Ty Power
“The score is melancholy and soothingly takes you to another place, attempting to tug at the heart strings all along the way. It comfortably puts you in another time.”
Flickering Myth – Tom Beasley
“It is stunning to look at, with the costumes and sets absolutely on point, aided by Amelia Warner’s lush score”