I don’t want to pat myself on the back here (ok, maybe I do) but I predicted our boy Bear would become a big time star because of Outlander. And guess what? It was just announced that he is the composer for one of the most highly anticipated films of 2016. That film being 10 Cloverfield Lane. Hit the jump to learn more about the film and why this kind of a big freakin’ deal….
But before we get into that, let’s talk about what 10 Cloverfield Lane actually is.
Produced by JJ Abrams, directed by newcomer Dan Trachtenberg, and written by Josh Campbell, Matthew Stuecken, and (Providence, RI native!) Damien Chazelle of “Whiplash” fame, 10 Cloverfield Lane serves as a “blood relative” to 2008’s sci-fi hit, “Cloverfield.”
What the hell is a “blood relative?”
But, here’s the IMDb description for 10 Cloverfield Lane:
After surviving a car accident, a woman wakes up in an underground cellar, where most of the film takes place. She fears she has been abducted by a survivalist, who tells her he saved her life, and that a worldwide chemical attack has left Earth’s surface uninhabitable. Uncertain what to believe, she decides she must escape, no matter what dangers she may face outside
As you can see, there isn’t much known about the film – it is a JJ Abrams production after all – but Cloverfield Lane hit Hollywood by storm. It was a complete surprise.
Nobody, and I mean NOBODY, knew anything about 10 Cloverfield Lane while it was being produced (it was being shot under the fake name, “Valenica”) and based on the following trailer, it has quickly become one of the most hotly anticipated films of 2016.
So I assume you have watched the trailer. And, boy, does it look freakin’ fantastic. When you have the creative team of Abrams, Trachtenberg, Chazelle, (and you know Matt Reeves – the director of Cloverfield and the latest two Planet Of The Apes films – had a say in what happened too), this is the kind of quality you’re going to get.
But why is this such a big deal for Bear?
Getting hooked up with the likes of Abrams (who, after his Star Wars The Force Awakens billion dollar success, is the hottest producer/director in Hollywood at the moment) and Chazelle (who is also the most sought after director of the new up-and-coming crop of talent in Hollywood) is the biggest coup for Bear.
While I’m sure his talents have always been recognized – and it was a only a matter of when, not if, McCreary would jump to the silver screen – he is jumping in with elite film makers who often go back to the well for talent (Abrams is notorious for using the same actors, crew, writers, and composers) and his music is bound to be heard by tens of millions of people because of how popular Cloverfield Lane is going to be.
In other words, this is such a big freakin’ deal because McCreary is now in partnership with Hollywood’s most prominent talent, whose reach and affect on Hollywood can be felt everywhere throughout the industry.
Without Abrams – there is no Damon Lindelof, Drew Goddard, Edward Kitsis and Adam Horowitz, Michael Giacchino, Chris Pine, Daisy Ridley, Once Upon A Time, Tron: Legacy, Star Trek, Star Wars, Mission Impossible, the list goes on and on.
In my article where I predicted Bear would come to wide prominence because of Outlander, I noted how Michael Giacchino (composer of LOST) came to fame. Giacchino made his bones in video games, got serious traction with LOST, got hooked up with PIXAR and composed most of their films starting with “The Incredibles” through “Ratatouille” all the way til the latest “Inside Out” and even won an Oscar for “Up.” Now he is composing today’s biggest films, become a household name, and is the heir apparent to one John Williams. This all came true because Abrams saw Giacchino’s budding talent and they created a relationship that has resulted in some of the best scores ever created. (My god that first Star Trek score…)
Now I am not saying McCreary is Michael Giacchino (he still has a little ways to go to get there), but McCreary has a superior talent that was highlighted in Battlestar Galactica, and was completely diversified in the more complete and cinematic score of Outlander. It’s already made a mark in the industry as one of the best scores for television ever created, and has even been nominated for an Emmy despite being it’s freshman season.
But, in a market starved for new sound (can we really hear ANOTHER Hans Zimmer, Henry Jackman, Alexandre Desplat score?!) McCreary’s eclectic and unique sound is a welcome addition.
Suffice it to say – McCreary is following nearly the same exact track as Giacchino, and that can only mean a HUGE recipe for success. True, McCreary has already won his Emmy – but it was for DaVinci’s Demons and nobody cares about that show. (Sorry, but it’s true.)
But don’t fret – as long as Outlander is being made – I am positive McCreary will stick around to keep making it’s music. As we know, he has a real passion for Jacobite era music, and his relationship with showrunner Ron Moore is rock solid. Plus, I also get the feeling that McCreary (like Giacchino) knows what made him successful in the first place. Giacchino stuck around to compose the entirety of LOST despite his Oscar winning successes and McCreary will do the same for Outlander.
But, don’t get used to McCreary sticking to TV anymore. When Outlander is up – we’ll all be following a bonafide Hollywood titan. Mark my words.
If you like Bear’s work – check out our other great articles about his music.
Top 10 Best Musical Moments From Outlander