|1.||Welcome to Harmony||2:16|
|4.||In the Morning||2:21|
|5.||Defending My Baby||1:19|
|6.||The Last Sunset||6:17|
|7.||The Dog Dead||3:29|
|13.||Patrick Talks With Lu||2:12|
|15.||Under The Bed||1:50|
|17.||They Are There||4:00|
|24.||Someone Speaks to Me||1:21|
|25.||A New Home||1:46|
| ||67:15| Manda tu crítica
Desde el cortometraje 'La comida' en 1997 hasta la presente 'Extinction', la obra del compositor coruñés Sergio Moure de Oteyza se ha ido abriendo paso en el complejo mundo de la cinematografía nacional de manera firme y decidida. En ella sobresalen con luz propia bandas sonoras como 'Secuestrados', 'Lobos de Arga' (quizás su score más notable) o 'El cuerpo'. Ahora nos llega la mencionada 'Extinction', que edita el sello californiano Varèse Sarabande. La película del realizador Miguel Ángel Vivas, inspirada en la novela de Juan de Dios Garduño 'Y pese a todo'...., es un más que loable largometraje de terror posapocalíptico que toma la arriesgada, y acertada, decisión de centrarse en lo humano y dejar en un segundo plano el componente violento. La partitura de Moure juega muy atinadamente con lo oscuro y lo lúcido, con el horror y lo sentimental, desarrollando una línea temática de gran consistencia, en especial su evocador tema principal.
Lo mejor: la belleza de su tema central.
Lo peor: que pase desapercibida.
Collaborating with Miguel Angel Vivas [director] is a real treat,” said Moure. “He is a director who leaves you a lot of creative freedom, but at the same time he knows what to tell the composer to show him the way to find the right emotional tone. He asked me to focus on the emotional aspects of the story and the relationship between the characters, without leaving aside the idea that it has to be a genre score.”
“This is the second time Sergio and I have worked together, after Kidnapped,” said Vivas. “And now he has gone and exceeded it with a score that is epic and moving, with an overwhelming personality. Everybody knows that a good soundtrack makes a movie grow. So Sergio, thank you for making Extinction a bigger movie than what I thought it could be.”
Goya Award-nominated composer Sergio Moure Oteyza was born in La Coruña, Spain. He studied music theory, focusing on harmony, composition, arranging, and guitar, at the Aula de Música (Conservatori Liceu) Barcelona, Spain. In 2004 Moure was nominated for “Best Soundtrack” and “Best Original Soundtrack” for his work on Unconscious at the Barcelona Film Awards and The Goya Awards respectively. Moure collaborated with Academy Award-winning composer Stephen Warbeck for the film Cargo, in 2011. Moure’s work has also been showcased for television movies such as Echoes, directed by Oriol Paulo and Toño López’s Relics.
Moure’s feature film projects include Kidnapped, directed by Miguel Angel Vivas, The Body, by Oriol Paulo, Thesis on a Homicide, directed by Hernan Goldfrid, A Good Man, directed by Juan Martínez Moreno, and Here’s the Deal, by Alejandro Marzoa. Moure is currently working on the television series Six Sisters, produced by Bambú Producciones and TVE, as well as in the feature film Dirty Wolves, directed by Simón Casal and produced by Agallas Films.
“From the beginning, after reading the script, I knew I had a very important task when dealing with the emotions,” explained Moure. “Extinction is a story that delves into the deepest feelings, and I as a composer must reflect that. I wanted to make an emotional soundtrack, but also with some epic and rhythmic moments typical for the genre.”
For nine years, Patrick (Matthew Fox), Jack (Jeffrey Donovan) and his daughter Lu (Quinn McColgan) have outlasted the zombie apocalypse by shutting themselves off in the snowbound town of Harmony. The monsters have seemingly disappeared, with no sign of other survivors, but the constant fear of the unknown is starting to take a toll on this makeshift family. When Patrick goes scavenging for food, he discovers the undead have returned and evolved into something terrifying, beyond imagination. Will the last breath of the human race survive a second zombie apocalypse?
“I used a classical symphony ensemble, specifically the Córdoba Symphony Orchestra, which I think did an incredible job,” Moure described. “I also used a prepared piano and several kinds of guitars. The prologue of the film combined the emotional and horror aspects of the film and permeated the tone of the rest of the score.”
Otras versiones de Extinction (2015):