Directed and produced by award-winning filmmaker Craig Leeson (A Plastic Ocean) and United Nations Mountain Hero & Entrepreneur Malcolm Wood, The Last Glaciers is a documentary chronicling a four-year, cross-continental journey to explore the cause and effects of climate change in Antarctica, the Himalaya, Alps, Andes and more.
The soundtrack covers 26 minutes with moments of serene bliss or songs that lean into the peril that these vital and gorgeous mountains face, like on “The Ascent.” The soundtrack has a large, cinematic sound to it, fitting for a film that is for IMAX theaters.
They worked with a live orchestra and combined that with the artist’s electronic production, which really comes through on songs like “Nasa Flight.”
“For the musical direction, we felt it important for the score to reflect the beauty of our changing planet that Craig had elegantly captured. Stylistically we wanted to combine our largely electronic musical background with live orchestra to create a hybrid score,” explains Jono Grant of Above & Beyond.
“It was important to us that the score both reflect the challenges facing the world today, and those faced by Craig as an individual and filmmaker over the course of filming. As well as conveying a sense of urgency, we wanted the score to portray an optimistic tone, and to encourage a positive call to action from the viewer,” says Grant.
“I am very excited to be part of this project as the message could not be of more importance (nor more urgent),” says Tate. “Our planet is in peril and across the globe, action needs to be taken.”
“When it came to the score we wanted to convey the challenges Craig faced, not only in getting this movie made and getting the message across but the physical challenges he had to endure; while appreciating the magnificence of the glaciers in all their beauty and the awe-inspiring cinematography,” Tate continues.
“We wanted broad, triumphant themes (reminiscent of Horner, Silvestri, Goldsmith, and Williams) that represented his determination to do this; underlined with percussion and electronica which re-enforces the seriousness of the task ahead. We also wanted to paint a picture of hope; such as the theme that plays when the children protest at the very end; reminding us there is still time if we take decisive action now.”
Despite the dire nature of the topic, there are moments of hope like “Kid’s Protest” captures the hope that indeed, the kids are alright. Get your copy of the score here.