25 Songs, 54 Minutes

EDITORS’ NOTES

Rio-born/Berklee-trained composer Pedro Bromfman has lived and worked in the U.S. for years. But it took the international success of the Brazilian Elite Squad films by director/collaborator José Padilha to help net Bromfman's first high-profile Hollywood assignment. “I remember seeing RoboCop as a teenager and the impact the movie had on me,” says Bromfman. “It was truly a dream come true.” The composer explains his score is rooted in considerable studio experimentation: “a hybrid of acoustic and electronic instruments, like RoboCop himself, who is part man, part machine. I used a lot of synthesizers and electronic pulses mixed with an 80-piece orchestra and live percussion. There are also a lot of acoustic instruments cut and processed beyond recognition. As for Basil Poledouris’ [original] theme, I am happy to say it appears in the film in a couple of scenes.”

EDITORS’ NOTES

Rio-born/Berklee-trained composer Pedro Bromfman has lived and worked in the U.S. for years. But it took the international success of the Brazilian Elite Squad films by director/collaborator José Padilha to help net Bromfman's first high-profile Hollywood assignment. “I remember seeing RoboCop as a teenager and the impact the movie had on me,” says Bromfman. “It was truly a dream come true.” The composer explains his score is rooted in considerable studio experimentation: “a hybrid of acoustic and electronic instruments, like RoboCop himself, who is part man, part machine. I used a lot of synthesizers and electronic pulses mixed with an 80-piece orchestra and live percussion. There are also a lot of acoustic instruments cut and processed beyond recognition. As for Basil Poledouris’ [original] theme, I am happy to say it appears in the film in a couple of scenes.”

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