The Forest
Sparks & Shadows (858886004199)
Movie | Release date: 02/09/2016 | Film release: 2016 | Format: CD
Limited edition
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| # | Track | Duration | |
|---|---|---|---|
| 1. | The Forest Main Title | ||
| 2. | Journey to Aokigahara | ||
| 3. | Into the Forest | ||
| 4. | The Tent | ||
| 5. | Follow the Rope | ||
| 6. | The Reversing River | ||
| 7. | Alone in the Cave | ||
| 8. | The Cabin | ||
| 9. | Curse of the Yurei | ||
| 10. | Theme from the Forest |
Sparks & Shadows SNS4019
This soundtrack features composer Bear McCreary’s original score for the THE FOREST, a supernatural thriller set in the legendary Aokigahara Forest, a real life Suicide Forest, where Sara (Natalie Dormer) journeys in search of her twin sister, who has mysteriously disappeared. Despite everyone’s warnings to stay on the path, Sara enters the forest to discover her sister’s fate. The soundtrack was inspired by the tone of classic horror and thriller films of the 1970’s. The story draws heavily from Japanese folklore, and McCreary’s score reflects this through the use of traditional Japanese instrumentation and a Japanese children’s choir. “I encouraged the children to sing softer and softer, slower and slower, said McCreary. 'Their schoolyard songs took on other-worldly qualities. Their gentle little breathy voices were genuinely frail and creepy, more effective than I could have ever dreamed. I used their songs throughout the film, as a cornerstone of the score.
This soundtrack features composer Bear McCreary’s original score for the THE FOREST, a supernatural thriller set in the legendary Aokigahara Forest, a real life Suicide Forest, where Sara (Natalie Dormer) journeys in search of her twin sister, who has mysteriously disappeared. Despite everyone’s warnings to stay on the path, Sara enters the forest to discover her sister’s fate. The soundtrack was inspired by the tone of classic horror and thriller films of the 1970’s. The story draws heavily from Japanese folklore, and McCreary’s score reflects this through the use of traditional Japanese instrumentation and a Japanese children’s choir. “I encouraged the children to sing softer and softer, slower and slower, said McCreary. 'Their schoolyard songs took on other-worldly qualities. Their gentle little breathy voices were genuinely frail and creepy, more effective than I could have ever dreamed. I used their songs throughout the film, as a cornerstone of the score.
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