Artist: Daniel Pemberton
Album: Molly’s Game (Original Motion Picture Soundtrack)
Genre: Soundtrack
Release Date: 2018
Audio Format:: FLAC (tracks) 24 bit, 48 kHz
Duration: 55:10
Total Tracks: 20
Total Size: 601 MB

Tracklist:

1. Daniel Pemberton – Staring Down a Mountain (03:56)
2. Daniel Pemberton – Raided (02:15)
3. Daniel Pemberton – Molly’s Journey (01:56)
4. Daniel Pemberton – Set It Up (02:45)
5. Daniel Pemberton – Play Your Hand (02:46)
6. Daniel Pemberton – Area Codes (02:31)
7. Daniel Pemberton – Cut the Pack (02:55)
8. Daniel Pemberton – Red & Black (02:39)
9. Daniel Pemberton – Pocket Kings (01:51)
10. Daniel Pemberton – The Rake (02:11)
11. Daniel Pemberton – House of Cards (03:57)
12. Daniel Pemberton – It Had to End (02:25)
13. Daniel Pemberton – The Playmates (02:20)
14. Daniel Pemberton – The Russians (03:22)
15. Daniel Pemberton – Molly’s Dream (01:05)
16. Daniel Pemberton – Intruder (02:53)
17. Daniel Pemberton – Scars (03:02)
18. Daniel Pemberton – Beyond Your Means (02:24)
19. Daniel Pemberton – Therapy Session (02:43)
20. Daniel Pemberton – All the Beauty in the World (05:07)

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Director Aaron Sorkin tells the true story of an Olympic-class skier who ran the world’s most exclusive high-stakes poker game and became an FBI target. Her players included movie stars, business titans and unbeknownst to her, the Russian mob. The soundtrack for Molly’s Game will be composed by Daniel Pemberton who recently put stones and even Chinese chopsticks to usage in his score for Guy Ritchie’s King Arthur.”It was great working with Aaron – I still can’t believe this is his first time as a director – he was so assured, enthusiastic and supportive it felt like he’d been doing it all his life,” said Pemberton.

“When you’re directing a film for the first time and I would imagine when you’re directing a film for the hundred and first time you don’t want the top people involved to be soldiers who’ll carry out your instructions. You want them to be artists who are better than your instructions. At an early meeting with Daniel in Toronto, where much of Molly’s Game was shot, I told the extraordinary composer that I wasn’t hearing electronic music in the score. Instead I wanted strings, reeds and brass an orchestral sound. Daniel nodded, smiled his thousand-watt smile and said, ‘There will be electronic music,'” Sorkin joked. “Daniel became nothing less than a co-author of the film. And I’ll be forever grateful that he followed his instincts instead of my instructions.”

Speaking to the dynamic score he crafted for this engaging true-life thriller, composer Daniel Pemberton said, “I wanted to write it so it felt a bit more like a bunch of different bands had written the score than rather a solitary film composer. I wanted it to feel like something that came from inside Molly’s world, the kind of music she would listen to or be surrounded by. It needed to feel contemporary, not like a traditional film score. But at the same time Aaron always wanted to give her a theme, one that would grow through the film into a big emotional resolution at the end, so it was important to work that into what I would do as well.”