Benjamin has worked on 37 movies to date. He made his scoring debut at the age of 24 on the personal invitation of Lars von Trier, composing the music for DEAR WENDY. This score earned him his first nomination as 'Discovery of the Year' in the 2005 World Soundtrack Awards and also a nomination for 'Best Original Score' in the 2006 Danish Film Academy Awards.
His subsequent score, for Rupert Wyatt's suspense thriller THE ESCAPIST earned him a nomination as 'Best Original Film Score' in the 2009 Ivor Novello Awards and his second nomination as 'Discovery of the Year' in the 2008 World Soundtrack Awards.
Upcoming scoring projects include HOURS, the directorial debut of Eric Heisserer (Final Destination 5, Nightmare on Elm St) starring Paul Walker (Fast and Furious, Fast 5) and DESERT DANCER starring Frieda Pinto (Rise of the Planet of the Apes, Slumdog Millionaire).
Benjamin orchestrated and conducted Dario Marianelli’s Oscar® and Golden Globe® winning score for ATONEMENT and has worked closely with Marianelli on the scores for numerous other studio pictures such as PRIDE AND PREJUDICE (Oscar® nominated, Best Original Score 2006), V FOR VENDETTA, THE SOLOIST, and JANE EYRE.
In 2010 he worked on two Ridley Scott projects, orchestrating the score for ROBIN HOOD and arranging the music for the acclaimed feature documentary LIFE IN A DAY, produced by Scott and directed by Kevin MacDonald. In 2011 he composed additional music for THE RITE, starring Anthony Hopkins and also for RED RIDING HOOD, directed by Catherine Hardwicke of the Twilight series. Benjamin recently completed the score for CONQUEST 1453, the most succesful movie in the history of Turkish cinema. His music is regularly licensed, most notably in the film MOON.
Benjamin also regularly performs in concert and has conducted orchestras including the Los Angeles Philharmonic, London Symphony Orchestra, Philharmonia and Sydney Symphony Orchestra, performing in venues including the Hollywood Bowl, Sydney Opera House and London’s Royal Festival Hall and Barbican. Upcoming concert music commissions include major new pieces for the LA Chamber Orchestra and London Philharmonic.
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Wallfisch, in “Flight To Neverland”, delivers a wonderfully animated piece of music that is full of wide-eyed wonder. The composer’s soaring strings together with the wizardry of the CGI graphics is a spectacle to see and hear.... Wallfisch’s score is well-rounded with soaring highs as well as dissonant depths and even has a dose adrenaline-fuelled, percussion-driven action scoring. The album is a surprising listen and is very much recommended.” Alan Rodgers, Reelmusic.com 09.11.11
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His main theme, heard in “Theme from The Escapist”, is a propulsive piece for driving strings, overlaid by a piano and cimbalom to give it a more melodic touch. It’s an excellent piece, indicative of the masculine, yet somehow shadowy world the film inhabits. The Escapist marks another feather in the cap for Wallfisch who, through both his solo work and his regular collaborations with Dario Marianelli, continues to earmark himself as a composer with a bright future.” Jonathan Broxton 09.04.09
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Wallfisch's score for The Escapist is definitely worthy of repeated listens, particularly for the memorable title theme [...] and it is a solid example of the talents of composer Benjamin Wallfisch." Alan Rodgers, Maintitle.net 01.01.09
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I am already looking forward to hearing more of his works. With the right projects and exposure, he just might be the next Elliot Goldenthal." Jonathan Jarry, Soundtrack.net 15.07.06
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The music of Benjamin Wallfisch is a splendid conflation of cinematic and theatrical sound score writing." Michael Coveney, The Independent 31.08.09
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The music for Dear Wendy, performed by the Philharmonia Orchestra and conducted by the composer, is a rich blend of beautifully orchestrated, youthful passages and darkly imbued sonorities, [...] it is very much like something James Horner might have written in his early career[...] Thank you Moviescore Media for allowing such great music to be heard." Mike Beek, Music from the Movies 12.04.06
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Drama, and the cadences of prison life are asserted by an urgent score by Benjamin Wallfisch which reduces the need for visible brutality.” Jeanette Catsoulis, New York Times 15.04.09
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This is definitely a composer to watch, and someone who film music fans should invest in from the beginning." Jonathan Broxton, Movie Music UK 06.11.11
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Wallfisch brought to [Stravinsky’s Firebird Suite] genuine tension, a very crisp beat and a timpani thwack in the Infernal Dance that I shall carry to the grave. Under his baton the Opera North Orchestra sparkled and glowed as they never quite did elsewhere." Geoff Brown, The Times 23.09.02
