Clint Mansell


Biography

Even though Danny Elfman seemingly had the market cornered on rock-stars-turned-film-composers, that all changed when Clint Mansell was hired by friend and director Darren Aronofsky to compose his first score. Mansell's first brush with fame came as the frontman/guitarist of English alt-rock group, Pop Will Eat Itself. When the band broke up in 1996, he moved to the United States where h...

Biography

Even though Danny Elfman seemingly had the market cornered on rock-stars-turned-film-composers, that all changed when Clint Mansell was hired by friend and director Darren Aronofsky to compose his first score. Mansell's first brush with fame came as the frontman/guitarist of English alt-rock group, Pop Will Eat Itself. When the band broke up in 1996, he moved to the United States where he almost immediately became the de facto composer for up-and-coming director Aronofsky, who hired him to write the music for his 1998 debut, "Pi." Mansell soon served as the go-to composer for Aronofsky in much the same way that John Williams does for Steven Spielberg. He's written the music for the filmmaker's subsequent projects "Requiem for a Dream," "The Fountain," "The Wrestler," and "Black Swan." Mansell's work with Aronofsky also got him hired to create a reworked version of "Lux Aeterna" from "Requiem for a Dream" for use in a number of film trailers ("The Lord of the Rings: The Two Towers"; "Zathura"; "The Da Vinci Code"). Even though Mansell participated in a brief 2005 PWEI reunion, his return to film scoring took a slightly lighter turn. Counterbalancing the heavier subject matter often at the heart of Aronofsky's work, Mansell worked on a number of romantic comedies including "Definitely, Maybe," "Trust the Man," and "The Rebound."

Life Events

Bibliography