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"GREIVING: Rachel Portman grew up in the southern part of England and started playing piano as a young girl. He's a wonderful person to work with. "I never imagined she would go as deep and as dark as she did. I just had to fall back on myself.GREIVING: Composer Rachel Portman acknowledges that she has a style, but she hopes it's different for every project. Spread the love 11 Oscar and Emmy-award winning film composer Rachel Portman has written scores for more than 100 major motion pictures, including Lasse Halleström’s The Cider House Rules (Charlie Theron, Tobey Maguire), … She just presents as such a gracious, lovely person, but there's stuff going on in there.PORTMAN: It's a bit like having a sounding board to bounce ideas off, having a text or having a film.
She's not just writing theme music that you can kind of pour all over a movie.MCGRATH: You wouldn't think necessarily that she would have music in her to underscore, for instance, a murder scene. Original soundtrack for the musical Ask the river composed by Rachel Portman, released by Node Records in 2020
The opening piece, “Leaves and Trees,” is both haunting and profound in its evocation of a peaceful wood. Node. "For NPR News, I'm Tim Greiving in Los AngelesThat means this is some of the most personal music Portman has written. "There's a big part of me that enjoys dramatizing, and is interested in defining emotions, and then being able to express them — but very specific ones. I feel like I'm like a storyteller but in music. She scored her first film in college at Oxford, and the cassette found its way to producer David Puttnam, who gave Portman her first professional scoring job when she was 22.RACHEL PORTMAN: I'd like to thank Doug McGrath. By Talent In Borders. But on big films, you know, there's always a lot riding on it. "GREIVING: Her frequent collaborator Douglas McGrath quotes a line about Truman Capote from the movie "Infamous. We don’t seem to be part of the land; we seem to use it as a resource instead.”“Ask the River,” however, is more personal. I knew she would come up with something very feeling and intelligent. There are a few tracks where everyone’s sort of dancing around each other and interleaving the same ideas. ""And of course, I love it when I haven't been pigeonholed. "And before I knew it, I wanted to write more.
"There were hardly any female film composers," Portman says of winning an Oscar at that time.Unlike her work for film, these pieces don't have a narrative. The album has a slightly melancholy hue, a description she disputes. In these particular circumstances, if they’re having a hard time, shut indoors, I hope that it could take them to a different place.”A Variety and iHeartRadio Podcast“It was always going to be a collection of mainly piano instrumentals,” she adds. I knew she would come up with something very feeling and intelligent. But I wanted to keep it small, intimate and thoughtful.”She is joined on seven of the tracks by two of London’s top recording musicians, cellist Caroline Dale and violinist Clio Gould, chosen for being “very natural, intuitive performers who really understand feelings.”Her first release as a pianist comes after 38 years of behind-the-scenes film scoring work.“I had spent a lot of time immersed in nature, and I wanted to try and express that,” she says from her country home 50 miles outside of London, “and express the beauty of what I see as many, many different aspects of nature around us. "TIM GREIVING, BYLINE: It was an historic moment.PORTMAN: Which can sometimes be frustrating if I'm working on a film that, say, needs a very masculine kind of sounding music, if one can say that. But then Weinstein has come to symbolize the sexism that has long plagued Hollywood, and Portman had to deal with her share.PORTMAN: There were hardly any - well, virtually, none - female film composers. "She writes character music," McGrath says. Reflection. (SOUNDBITE OF MUSIC) Transcript provided by NPR, Copyright NPR. Portman has been scoring films since the 1980s, but only now has she released an album of her own. Rachel Portman has been scoring films since the 1980s, and in 1997 became the first woman ever to win an Oscar for best original score for her work on Douglas McGrath's Emma.