Death and transfiguration are two themes that have often accompa-nied the scores of Fernando Velazquez. Powerfully embodying a new generation of orchestrally rich Spanish composers to steadily take root in Hollywood, Velazquez rose from numerous shorts in his na-tive country to impress Hollywood with his lush, alternately creeping and raging sense of old school melody for DEVIL, MAMA singing with a romantic sense of aristocratic doom for CRIMSON PEAK and PRIDE AND PREJUDICE AND ZOMBIES. A particularly resonant ferryman for Velazquez when coming to grips with the inevitable, as well as the potential radiant light afterwards, is filmmaker J.A. Bayona. […]Read On »COMMENTS (0)
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