Christina Perri is a Twifanatic she even has a Twilight-themed tattoo to show it.
So when the 25-year-old performer discovered her swooner of a love song “A Thousand Years” was heading to be integrated on the soundtrack for the new Twilight film, The Twilight Saga: Breaking Dawn, she was much more than just encouraged. “I really had to contain myself,” Perri tells Rolling Stone. “I was sweating I was so excited.”
No surprise having a track highlighted on a Twilight soundtrack offers unmatched publicity. The movie series has a devoted fan base the three films have made nearly $1.7 billion at the box office and Twilight fans are music fans, as well: since 2008, the three films soundtracks have sold a combined five million copies in the U.S. alone.
Joy Formidablefrontwoman Ritzy Bryan, who learned a month ago that her band’s moody track “Endtapes” would serve as the opening cut for the Breaking Dawn soundtrack, is assured that being included in the film will open up brand new ways for the breaking London trio. “I think we’re definitely going to reach people that won’t have heard of the band,” Bryan says. “That can only be a good thing.”
Its a similar story for Imperial Mammoth, a virtually unfamiliar Los Angeles-based husband-wife duo that consists of Leonard Jackson and Laura Jane Scott. “It was sort of like when they show up at your house with the big novelty check,” Jackson says. “Its almost mind-numbing.”
The person accountable for selectingTwilight’s musicians for the soundtrack is Alexandra Patsavas, who has been the music supervisor for all of the Twilight films. She says she relishes the chance to reveal Twilight audiences to newer artists. “It never gets less thrilling,” she says.
The procedure for selecting the artists to soundtrack a Twilight movie starts early. For Breaking Dawn,Patsavas sat down with director Bill Condon when there was nothing but a script to work with, and the two discussed what kind of sounds are essential to accentuate the plotline.
“The choices do get refined after shot footage is assembled,” Patsavas explains. But the most essential question throughout the process revolves around whether the “music can actually be put up to picture,” she says.