Maleficent: Mistress of Evil

Directed by Joachim Rønning

  1. Mistress Of Evil (Excerpt) 0:30
  2. Poachers On The Moors (Excerpt) 1:30
  3. What Is Going On Here (Excerpt) 1:30
  4. Ulstead (Excerpt) 1:30
  5. Etiquette Lessons (Excerpt) 0:30
  6. All He Wanted Was Peace (Excerpt) 1:30
  7. We Have Her (Excerpt) 1:30
  8. We're Dark Fey (Excerpt) 1:30
  9. Pinto's Recon Mission (Excerpt) 0:30
  10. It Is Love That Will Heal You (Excerpt) 0:30
  11. Origin Story (Excerpt) 1:30
  12. You Don't Have To Change (Excerpt) 0:30
  13. The Dance Of The Fey (Excerpt) 0:30
  14. Back To The Moors (Excerpt) 0:30
  15. Our Fight Begins Now! (Excerpt) 0:30
  16. Your Majesty, They're Coming From The Sea (Excerpt) 0:30
  17. I've Made My Choice, You'll Have To Make Yours (Excerpt) 1:30
  18. Protecting Our Kind (Excerpt) 1:30
  19. Maleficent Returns (Excerpt) 1:30
  20. The Phoenix (Excerpt) 1:30
  21. Hello, Beastie! (Excerpt) 1:30
  22. Time To Come Home (Excerpt) 1:30
  23. You Cant Stop The Girl (Film Mix) (Excerpt) 1:30

Score available from iTunes and Amazon

I spent a few weeks of 2019 at Abbey Road in London, probably the greatest recording studio on the planet, with astounding musicians and engineers, recording this score. I called James Newton-Howard, who scored the first Maleficent, from the scoring stage to thank him for letting me stand on his shoulders. The view was wonderful from up there!

This was my second collaboration with director Joachim Rønning, the first being Pirates of the Caribbean: Dead Men Tell No Tales.

It’s always a pleasure to take a world that exists in a film and expand on it. For this movie, we had the Dark Fey as a whole new concept to work from, so I got to create a sound for them. Ingrith, played brilliantly by Michelle Pfeiffer, gave me an amazing bad guy to write music for. And Aurora came into her own as a powerful force in this film, so the trick to the score was to balance Ingrith’s overt strength, Maleficent’s supernatural strength and Aurora’s very personal strength in such a way that the story could reveal itself to the audience over time. It’s not necessarily easy, but when it works it’s a great way to engage an audience.

Bebe Rexha – You Can’t Stop The Girl (Orchestra Version Arranged by Geoff Zanelli)
Ingrith’s Theme (Abbey Road Recording Session)