"I loved working on those films. For me, it’s some of the best work I’ve ever done."
— Nathan Furst
|Job||Composer for the first three films|
Nathan Furst is a composer who worked with LEGO and Creative Capers Entertainment to score the first three BIONICLE films.
An avid lover of film music ever since childhood, Furst taught himself to play piano at the age of 12, receiving no lessons, and as a teenager acquired copies of TV show episodes without any music mixed in so that he could compose his own scores for them. Furst - who had never heard of BIONICLE before - had a friend in Timothy Borquez, who was serving as a sound supervisor for an upcoming BIONICLE film. Borquez recommended that Furst send in a demo reel of his work to Sue Shakespeare (the film's executive producer), who was impressed by Furst's work and enthusiasm and invited him to score the film. Furst composed approximately sixty-five minutes of music for the film, including a ten-minute cue for the film's finishing battle sequence. Furst's work earned him a nomination for Best Original Score in a DVD Premiere Movie, after which he returned to score the second and third installments of the film series.
Furst was not invited to return for the fourth film, which he attributes to the new production company's wish to not retread old ground.
2017 saw the first official releases of Furst's work on the first three BIONICLE films. The Mask of Light soundtrack was released on March 10, followed by Legends of Metru Nui on December 12 and Web of Shadows on December 22. The soundtracks are fully remastered and collectively contain almost all of the music from the films, with some tracks being omitted from Legends of Metru Nui due to their redundancy. The albums are available for purchase on digital music stores such as iTunes, Amazon, and Google Play, with no plans currently in place for physical releases.
- The Kolhii match sequence in Mask of Light was edited around Furst's score for the scene.
- Furst often describes the BIONICLE films as some of his favorite projects, as he had extensive creative freedom in what he could write.
- When composing the score to Mask of Light, Furst had only concept art to work off of to get an idea for what atmosphere his music should have. In composing subsequent films in the series he had the luxury of being able to read the script beforehand.
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