Flood: Movie for release 2007

[drew]

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Flood (12a) (111 mins)
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[Belinda]

Have just watched the first part of Flood


Not really my sort film

Hayley sounded great at the end but they only let her sing about 8 words but nice all the same maybe part two they will have the full song


Belinda

[Stephany]

I saw a clip of 'Flood' on CNN a few days ago. The video was superbly accompanied by Hayley's voice
They were talking about the risks of flood in London but said nothing about the film itself!

Stephany

[Ross]

Just watched the second part of the mini series of Flood shown in New Zealand and Hayley was heard quite a few times especially during any sad bits and at the end of the programme. I saw her name in the end credits. She was excellent, very haunting.

[Belinda]

Hi Everyone,
I too just watched the second part of Flood
i did not think we were going to hear Hayley sing all through it .
That was a nice surprise i.postimg.cc/9fYxy370/smilie-big-grin.gif
Very recognizably Hayley.
i.postimg.cc/9fYxy370/smilie-big-grin.gif
Belinda

[drew]

Now this is what you really, really want:

www.musicfromthemovies.com/article.asp?ID=937

FLOOD washes onto CD :

Flood burst onto the screen this month; it is of course the film that sees the city of London overwhelmed by an immense tidal surge following a raging storm. Starring Robert Carlyle, Tom Courtenay and David Suchet, it is a drama of epic proportions with stunning visual effects and a powerful dramatic score by Debbie Wiseman, all surrounding an eerily timely story. Wiseman’s music swells and rages relentlessly and, with a haunting lament as its main theme, it truly is a must-listen. The Royal Philharmonic Orchestra provides the performance, while classical superstar Hayley Westenra provides stunning vocals.

The album is released by Silva Screen Records on September 24th, includes album-sleeve interviews with both Debbie Wiseman and Hayley Westenra (by yours truly) and is available to pre-order at www.silvascreen.co.uk. Meanwhile the film is currently enjoying a limited release in London’s West End, hopefully with a wider release thereafter. Go to www.flood-london.com to take a look!

Michael Beek

related links & further information:

Debbie Wiseman page

CD release September 24th.

[Belinda]

Hi Drew,
I just got that alert too i.postimg.cc/9fYxy370/smilie-big-grin.gif

That is good news they are quick off the mark.
Glad they are putting it on cd so i don't have to rewatch the movie a thousand times
Maybe 10 times will be ok.

Belinda

[Richard]

Thanks for posting the article, Drew!

The CD can be pre-ordered via this direct link: www.silvascreen.co.uk/master.cfm?SilvaCode=SILCD1247&id=4571



Best Wishes,

Richard

[Joe]

On Internet Movie Data Base, there is a page for Flood:

www.imdb.com/title/tt0790665/

[Joe]

We all know of Debbie Wiseman's recent works for 'Jekyll' and 'Flood' but did you know that she's composed some music for the 'Inspector Lynley Mysteries" TV show?

I happened to watch one of the episodes which just aired on PBS. I scan the credits to see if I recognize any of the actors. Then I saw "Debbie Wiseman" as composer!

As I have posted a link of 'Flood''s listing on the Internet Movie Data Base, Debbie is also listed...here's the link which shows all of her projects.

Joe

[Stephany]

Here is another review of the 'Flood' soundtrack from Movie-wave.net:

FLOOD
A review by JAMES SOUTHALL
Music composed by DEBBIE WISEMAN
Rating * * *


Wiseman impresses with fine ideas, but they are stretched rather thin over course of long album

It seems pretty scandalous really that it's 2007 and there are only two film composers of any particular fame who are female. While many of the technical disciplines of film are dominated by men (and one or two by women), it seems curious indeed that the music remains such a male-dominated field. In a century of film music, not a single really high-grossing blockbuster has been scored by a woman, despite the trailblazing efforts of the late Shirley Walker, and Rachel Portman's career has included a number of high-profile projects, but virtually all of the notable ones can be pigeonholed into the chick-flick category.

Indeed, there remains a curious attitude that if women do score films, then they must be that kind of female-centric one (does this mean that men shouldn't write the scores for romantic comedies?) Blazing her own trail to try to counteract that argument - though admittedly, mostly on relatively small-scale British films and television projects - has been Debbie Wiseman, who has written countless scores so far in her career, in a very wide variety of genres, and with much success.

Flood is a British film as obscure as they come, despite having a relatively large budget for this nation's film industry. It's about a tidal surge which engulfs London and seems to be a home-grown attempt to get on The Day After Tomorrow territory, but the fact that it was only shown in one cinema does not indicate its distributor had much faith in it (no doubt it was at least partially financed by my taxes, as many of these overblown home-made vanity projects tend to be). Where it is indisuptably better than The Day After Tomorrow is in its music; whereas that film saw Roland Emmerich's musical taste desert him completely (it is a hell of a drop from John Williams on one film to Harald Kloser on the next), Wiseman was the perfect choice for this.

The score has two main ideas, each of which is beautifully-done. The main theme is a kind of requiem for the city, and the various lives lost, and is truly beautiful - I think I hear a hint of the great Georges Delerue there, certainly his gift for conjuring heart-melting melody, and the Royal Philharmonic Orchestra is joined by the voice of the comely Kiwi "crossover artist" Hayley Westenra - it's beautifully effective - indeed, it is simply beautiful.

[/color] The other main idea is the action music, which is based around a single rhythmic idea, frequently with fairly subtle electronic percussion loops joining the orchestra. Once again it is hugely impressive - reminding me in an odd way of Trevor Jones at his finest in scores like Dark City - it's extremely exciting, quite pulsating in fact, some of the most effective orchestral action music of the year.

So, after two cues, this is shaping up to be the score of the year. Indeed, anyone who were to listen to those six minutes of music would rush down to their nearest record shop and buy the album without hesitation. The problem is, that listener could take those two tracks, copy them to his computer, repeat them ten times each and have an album which would not be discernably different from this one. I don't know how many of the 59 mintues of music contained in tracks 3-18 are not directly lifted from those in tracks 1-2, but I suspect you could count them on the fingers of one hand with plenty of room to spare. It's a shame Wiseman didn't develop her ideas further (she reportedly had an extremely tight schedule to write the score, so perhaps that explains it - but the strength of the music is such that it is still an album I can easily recommend.

Tracks
Flood (3:08)
Granny's Cottage (3:17)
Overwhelming the Barrier (1:58)
Struggle to Survive (2:10)
Destruction at Wick (2:13)
Crisis Control (1:47)
Too Late? (4:17)
Evacuation (6:01)
Trapped (1:42)
The Raging Storm (2:39)
Personal Differences (3:32)
The Capital at a Standstill (3:14)
Devastation (2:36)
Heroes or Victims (6:21)
Race Against Time (2:22)
Difficult Decisions (4:42)
No Way Out (4:11)
High-Risk Plan (8:36) [/size][/quote]
Stephany

[Stephany]

Another (positive) review for 'Flood' and Hayley (from Music from the Movies):

Flood
Reviewed by: Mike Beek
The word “timely” is well used against Tony Mitchell’s film Flood. With parts of the UK finding itself under water over the summer, the premise of this Canadian/British co-production, based on Richard Doyle’s novel, couldn’t have rung more true. When an unusually ferocious storm rages to the east of the British Isles and the ocean swells, London finds itself at immediate risk and is subsequently overwhelmed by floodwater. In scenes that would have done any number of Hollywood blockbusters proud, the terrifying situation is brought vividly to life on screen.

When I discovered back in January that Debbie Wiseman was to score this disaster epic, I was excited. Although she is well known for the beauty of her music, Debbie also knows how to let rip in the action/thriller stakes, something she revealed in her first class scores for Lighthouse and Arsène Lupin. Like the former, Flood is an absolute musical assault, but one that gets the pulse racing, rather than the skin crawling. A selection of motifs and figures make up the bulk of the score, dominated by brass and strings and with a modernistic beating heart, courtesy of some funky electronics and tympani.

At the heart of the score lies a haunting lament, which opens the album (‘Flood’). Hayley Westenra is the featured soloist in the score and her ageless vocal stands out against the resonating, bellowing strings

[/color]. The theme is a lamentation for a devastated city and its people, with an air of strength and triumph of spirit, perhaps brought about by a strong horn presence later in the cue. The theme is reprised at key moments, in varying guises, and these moments have the propensity to bring on goosebumps, so affecting is the performance by Westenra and the Royal Philharmonic Orchestra[/color].

From the second cue, the ironically titled ‘Granny’s Cottage’, all hell breaks loose and the wild ride of Flood gets into gear. The title suggests a sweet idyll, but that’s not the case; with a whoosh of electronics, the orchestra rages along with the water and key brass and string figures are unleashed. Debbie admits in the album-sleeve interview that she worked the strings ‘quite hard’ and that shows here with a racing, cascading string figure that becomes a mainstay of the album. The brass section work wonders too and they are one of the absolute highlights of this score, so urgent and unyielding is their presence. They transform the flood water itself into a classic movie monster, with ferocious growling horns and alike. This seemingly unstoppable barrage continues across many cues, with the composer introducing new rhythmic figures for strings and returning to them throughout. ‘The Raging Storm’ is a particularly exciting cue, among many, and ends with a persistently rising motif played out by percussion, brass and strings that gets a fuller rendition in ‘The Capital at a Standstill’.

When the orchestra is given time to breathe, the score focuses in on the human story that runs amongst the chaos. These moments are given over largely to piano and woodwinds and are most evident in the cues ‘Personal Differences’, ‘Difficult Decisions’ and ‘No Way Out’. A highlight cue for me though is ‘Evacuation’, which begins with an orchestral rendition of the main lament theme and moves into a sad piano/woodwind refrain before the strings cry out in complete desperation; a moving moment indeed, but it’s not long of course before the water rages across the screen once again and these quieter, reflective moments are drowned out.

I’ve been fortunate enough to have this music for a number of weeks and I have to admit it has barely been out of the CD player. While the action cues may be a little unrelenting for some, I can’t get enough of the adrenalin rush that comes from hearing this large orchestra take (and give) a battering; plus, the fact that the composer had only a few weeks to get this together makes the result all the more impressive. Once again Debbie Wiseman has created an immediate and affecting score, skilfully conceived and remarkably presented.
[/size][/quote]
Stephany

[grant]

Hi Stephany

Looks like this is going to be a 'must have'. Mike's review is one of the most positive I've read for anything!

Guess he likes it! i.postimg.cc/9fYxy370/smilie-big-grin.gif

Best wishes
Grant

[graemek]

stephany said:

Here is another review of the 'Flood' soundtrack the Royal Philharmonic Orchestra is joined by the voice of the comely Kiwi "crossover artist" Hayley Westenra - it's beautifully effective - indeed, it is simply beautiful.

[/color]
Stephany [/quote]

The comely Kiwi is just gorgeous.
I think that's a first that I've seen those words used as a compliment to Hayley's beauty.
Graeme

[Richard]

Hello everybody!

There is a two minute sample of Hayley singing 'Flood' on Debbie Wiseman's website:-

www.debbiewiseman.co.uk/samples/index.asp

The other samples are interesting too.

Richard