Here, “The Bride!” Academy Award-winning composer Hildur Gugitnadotal, who has already been waiting for her.
It films the myth of Maggie Gyllenhaal’s upcoming monster film, Frankenstein, starring Jesse Buckley and Christian Bale. In the film, Frankenstein travels to Chicago in the 1930s and seeks the help of Dr. Euphronius to make a companion for himself. They will reinvigorate the murdered young woman.
“It was a bit nuts,” she laughs.
“Bride!” The trailer debuted in September.
“It’s a very layered world, and there are a lot of different things happening. There are love stories, thrillers, female monsters. There’s a lot of excitement and violence,” says Guðnadóttir.
“It was very punk, very romantic, and it was kind of crazy. There’s electric guitars and orchestras that scream. That’s very interesting to me about films as medium. It’s not “real” or accurate.” You can have fun and run your imagination. ”
Born in Iceland, Guðnadóttir discusses variety at the Zurich Film Festival, wins a Career Achievement Award and introduces Niada Costa’s “header.” It features Tessa Thompson and is based on the 1890 play by Henrik Ibsen.
“Through history, women have been portrayed as good princesses or bad witches. But they are so much more than that, it’s very important to revisit juicy characters like Header. She’s not just a nice guy, but she’s all.
“I’m very interested in these complicated women and I’m trying to match their complexity with my music.”
With Dacosta’s post-apocalyptic horror, “28 Years After: The Bone Temple,” scheduled to premiere next year, Guðnadóttir admits that he generally tends to be “attracted to the darkness.”
“I’m trying to understand why, why am I coming back? Then again, we can’t stay away from difficult subjects, the dark side of humanity, mental illness, and catastrophes like Chernobyl.” She also won the acclaimed HBO miniseries, and Emmy and Grammy Awards for her work.
“We have to learn from these stories and our mistakes, and we try to understand that we can do better.”
She wanted to be darker in “Women’s Tales,” based on the novel by Miriam Two. Director Sarah Pauly has changed her mind.
“It was a very interesting project to score, because the subject is very strict. It’s really violent. It’s hard to face what these women went through. I remember when I first read the script, I was so angry on their behalf,” she recalls.
“I was upset, so writing music that was very angry or offensive was easy. Sarah’s approach was interesting because she didn’t want to stick to fear.
That was the role of music, she explains: to serve as a “point of counter-terror.”
“It was a bright, hopeful thing, and I was supposed to move the story forward by looking at their beautiful relationship. My intuition was dark – Sarah turned me towards something light. It gave me a lot of hope, too.”
It has been a valuable experience, she points out, as it hasn’t been easy to maintain hope lately.
“There’s a hate speech uprising and we’re against women’s rights. That’s what I’ve really struggled with how to deal with. It’s paralyzing you and seeing where this whole conversation about women is heading. You can’t be speechless.”
She adds: “I thought to myself. What’s the difference between making music or not, when there’s a lot of hatred? We’ve been sitting together for a few months, and the worst thing is to keep quiet. I have to use my voice to continue connecting with people from places of empathy and care.”
To prove her point, Guðnadóttir is heading for a small tour with her latest album, “Where to From.” “It’s my first solo album in 10 years!” she is excited. Puppeteer Gisel Veen is behind the cover art.
“I was always on tour, but when I had my son, I stopped traveling, I focused more on composition and focused on performances.
“It’s time to go back. We’re sitting in a room full of people, listening to music together…it’s so powerful.”
