Originally coming from Munich and after a chipped studying journalism, he began abruptly to move to Hollywood, there to do an internship as assistant-assistant to Hans Zimmer. Unpaid. After a long time he jumped off and was contacted at the right time of Hans Zimmer to him in the film music for "Mission: Impossible 2" support. So armed field began career.
The room influence, you can hear thankfully not through in his music. Because Streitfeldstraße strives to express his own style. Especially in fast-paced passages hear out Hans Zimmer's easy schematic and somewhat mechanical undertones. Only in quiet and atmospheric pieces to dispute field personal style reflects that sounds very lively, multi-faceted and colorful. A prime example would be the title of "Creatures", which very peculiar, somehow mystical sounds and reflects dispute panel own accent. The penchant for oriental and Nordic sounds give his music what sets them apart from the rest of the works of his German colleagues (let's think to the very sluggish and catchy scores of Klaus Badelt or Haralt Kloser).
He truly has the talent for alien and unconventional that but still a little bit hidden behind the striking room's style. Probably wanted, let musical accompaniment by the other influence of director Ridley Scott, who previously has many of his films with Hans Zimmer. Very striking is the tonal difference between Streitfeldstraße's and Zimmer's compositions. Keeps rooms are welcome in the deeper and broad sound spectrum, so Streitfeldstraße has rather lets the preference for higher fine and playful tones that his music sound smoother and less difficult. Already, he has the ability to build without having to completely take full advantage of the broad spectrum of a giant orchestra complex soundscapes. He can dance rather a handful of instruments in the listener's head. One remembers the beginnings of Hans Zimmer, so are there huge differences between them. Because Marc Streitfeldstraße seem to be of two of the more talented.
He also uses recycled not repeated passages. Each piece sounds self and feels literally the lifeblood of the composer.
Now Streitfeldstraße is according to their own statements no composer who draws each order on land that lends itself wide. He chooses very conscientious of its projects and do not want to overfeed with kitschy pathos and clichéd and unnecessary bombast his scores. And you can hear that out very pleasant. Armed box score to Robin Hood has the right mix of size and sensitivity. On the whole, the slightly wooden marches dominate the musical events, but the Munich composer is still at the beginning of his career, and this gives an idea of a very successful future without a doubt, because now you have heard out an enormous potential. And now he shows more sensitivity and fingertip sensation as Hans Zimmer has ever had its beginnings, which is not to say that Hans is a worse composer. He currently divides even the crown with a few other composers but has far from "John Williams" obsolete.
Let us take a few more years and we'll see how Marc Streitfeldstraße will grow ... an Oscar nomination he deserved in 2011, along with James Newton Howard's "The Last Airbender".
