No, it is not a heavy metal group and no its not something the normal person wouldn’t listen to. This is maybe the group that almost most of the earth’s population has listened to without even knowing , Thomas Bergersen and Nick Phoenix are the only two founders and composers  behind the music of Two Steps From Hell.

If someone never watched a Harry Potter or any Marvel movie or never played Mass effect or kill zone, then they are still counted as one of many that listened to this group without knowing because their music was played during the opening of the London Olympics  2012.

The reason this group is so known yet unknown is that their music was present in almost the best and the most watched movie productions, usually their music are always used in movie trailers. In a sense this kind of  music is always what makes the movie look more exciting than it actually is.

Two Steps From Hell has been doing trailer music for several of biggest movies in the past few years, such as ‘Avatar’, ‘Up’, ‘Beauty & The Beast’, ‘Super 8′, ‘The Avengers’, ‘Tintin’, ‘The Amazing Spider Man’ and many more.

The group was formed back in 2006 by Thomas Bergersen and Nick Phoenix who combined their  musical abilities to write a book full of original music that in only six years has achieved great success and 22 album releases.

To explain the formation and the process of  Two Steps From Hell. The music is composed and written by Bergersen and Phoenix, and is then played and recorded by an orchestrated group conducted and by a conductor. Their official conductor is Petr Pololáník, he is an orchestrator and music producer. Petr studied both violin, piano and conducting and now he is working with Bergersen and Phoenix.

Many would categorize this brilliant music under its own genre, as it has a new form and new musical structure that has a blend of tastes from the classical and epic music era to the rough and solid heavy rock music, that gives a motion picture its real motion. Almost any fictional or adventure motion picture trailer or a thrilling scene would not be the same without this music, yet their music without the motion picture will still definitely give the image and the message without seeing it, and that is the unique element of their music. It is music that tells a story and takes the listener to new lands.

The artistic album arts are done by the artist and graphic designer, Steven R. Steven, who is well known in the film community where he has worked on the graphic campaigns for movies like ‘Lord Of The Rings’, ‘Dark Knight’, ’300′, and ‘Watchmen’. Steven is the mastermind behind all of the Two Steps From Hell album covers.

Two Steps From Hell are in a sense a musical group that has changed the  musical world of the movie theater and in a sense boosted the view counts of many overrated movies.

Image Courtesy of  Two Steps From Hell

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In the not-so-distant future, people stop aging when they reach the age of 25. Will Salas lives in the poorest region, or time zone, named Dayton. He rarely has more than 24 hours on his body clock, and must work every day at a factory to afford another day of life. For his mother, Rachel, it is the same story, as it is for all in hard-scrabble Dayton.

But far from desolate, Dayton is alive with color, sound, speed, music, urgency — and crime. Gangs called Minute Men are always on the lookout for ways to steal time, and ending a life in exchange for a few hours means nothing to them.

When Will protects the wealthy interloper Henry from a crew of Minute Men intent on timing him out, Henry makes a present to Will of a century of time. But as time is currency and painstakingly tracked as such, the movement of such a large sum within the confines of Dayton alerts the authorities, the Timekeepers.

Moreover, Will is falsely accused of murder, which triggers a veteran Timekeeper named Leon to begin a relentless pursuit of Will. Without an overriding plan, Will decides to spend his time in the richest zone, New Greenwich. In stark contrast to Dayton, nothing moves quickly here; time is a luxury all residents can afford, since most have hundreds, or even thousands of years to live.

But relative immortality comes at a price, and all are fearful of theft and injury – “the poor die and the rich don’t live,” Will observes. It soon becomes apparent to Will that in order for a few to live, many must die, to keep the scales of rich and poor balanced. Maybe he can use his time to do some good?

But New Greenwich does have something that attracts Will – Sylvia Weis, daughter of the super-wealthy Philippe Weis. When the Timekeepers attempt to apprehend Will, he takes Sylvia hostage, and what starts as a flight from the law becomes a high stakes game to change the rules of this not-so-brave new world, with two lovers on the run at its center.

Three young, hot names are headlining this explosive ride which will hit theaters on October 28; Justin Timberlake, Olivia Wilde and Amanda Seyfried. Timberlake and Wilde play the part as mother and son while Seyfried is the hero’s love interest Sylvia Weis.

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One of the most anticipated movies this winter, In Time has fans of the sci-fi genre rubbing their hands for Andrew Niccol’s fast-paced and innovative story concept. With names like Justin Timberlake and Amanda Seyfried taking the leads of Will Salas and Sylvia Weis, cinema goers can expect high-profile performances — but it doesn’t end there.

For the part of Rachel Salas, Will’s mother, the filmmakers turned to Olivia Wilde, who has experienced an explosion in her career with such films as Tron: Legacy and Cowboys & Aliens. “Olivia’s not going to be able to play a 50-year-old woman for another 30 years, and I think there was something challenging about that and something fun for the actors and us,” says producer Eric Newman.

“The part required an actor with a maturity beyond her years to play Rachel, and Olivia has that quality,” adds Niccol. Wilde, who is a few years younger than onscreen son Timberlake, says, “I was very attracted to the idea of playing someone who was a very old soul in a young person’s body.

And I thought, how interesting, to play someone who’s 50-years-old, who’s had this long life in a world where it’s very tough to have a long life. I mean, you wonder what she’s been through in order to survive for 50 years.” Someone at the far opposite end of the spectrum from Will and Rachel is the tycoon Philippe Weis, Sylvia’s father.

The Weis family fortune was built on a chain of time lending stores, which charge exorbitant interest on the time borrowed by poorer people, desperate to stay alive. Vincent Kartheiser plays Philippe and, with less than a decade between his and Seyfried’s actual age, the Mad Men-star met the challenge of playing her father, who is actually, internally, well over 100.

Kartheiser explains “Where you or I might say, ‘Well, you only live once,’ or ‘Live today like it’s the last day of your life,’ Weis and his friends and family don’t believe there will be a last day. Weis and his ilk have centuries to accomplish their goals, leaving them at best unmotivated.”

Weis has no trepidation about his fortune – as long as there are people with less than 24 hours to live, there will be customers. And it’s definitely a fixed game, in Weis’ favor, of course. Kartheiser continues “The interest rates Philippe charges change in accordance with how much the ‘haves’ want to control the ‘have-nots.’

So, when people need to die, to avoid overpopulation, the interest rates will jump, so that they can’t afford to borrow any more time, or even pay the interest on the time they’ve been loaned. And this is one loan you can’t default on, if you want to keep on living.” Will’s best friend, Borel, is a troubled soul unable to deal with these restrictions.

Johnny Galecki, who portrays Borel, notes that his character and Will “share the same political ideologies, but I think Borel’s a little too sensitive for this world. This life clock is his Achilles’ heel; it haunts him.  So he helps himself along by self-medicating, maybe a bit too much. He has a wonderful wife and a beautiful baby and if it weren’t for them, he probably would have been gone a long time ago.”

Henry Hamilton is the enigmatic stranger who wanders into Will and Borel’s local watering hole, flashing more than a century of time on his wrist. In exchange for saving his life, Hamilton not only rewards Will with time, but also with the truth and deepest secrets of their respective zones.

Matt Bomer, of the hit USA series White Collar, plays Hamilton. “Hamilton is sort of like that character in a Dickens novel, who imparts information to the protagonist that sets him on a new course. Henry wants to change things, but he doesn’t know how to. He’s 105 years old, lived a full life, and now he wants to end it.

In Will, he finds somebody who can think outside of himself, who has the courage and the moral fortitude to actually affect change. So he gives him the gift of years, hoping that this brave soul can make a difference.” With such a dynamic cast, it is reasonable to expect a box office hit this October 28.

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The upcoming movie In Time, featuring Justin Timberlake and Amanda Seyfried, is written and directed by Andrew Niccol and will introduce audiences to a mind-blowing concept that makes reality out of the saying “time is money.”

In a future where time is literally money and aging stops at 25, the only way to stay alive is to earn, steal, or inherit more time. The main character, Will Salas, lives minute-to-minute, until a windfall of time gives him access to the world of the wealthy, where he teams up with a beautiful young heiress to destroy the corrupt system.

The story picks up the obsession with youth of our society. Billions of dollars are spent annually by the health and beauty industries, trying to find ways to halt the body’s aging process, feeding consumers willing to spend a cumulative amount that could erase a small country’s debt in exchange for their very own fountain of youth.

Science edges ever closer to finding the solution to combating the complex process, but in the meantime, one man may have found a way to keep human beings young forever — on paper, at least: future-realist filmmaker Andrew Niccol. Niccol’s skill in bringing together big action set pieces and big ideas in unexpected ways, in fantastical yet recognizable worlds is in full evidence in his new feature.

“In Time is an action thriller,” Niccol points out. “I think people can enjoy it on that level. They’ll go for the stunts, action, car chases and to see Amanda Seyfried wielding a gun, which she does brilliantly! But I think audiences will appreciate some of the ideas and themes we explore, because In Time does say something about our desire to stay young forever.

While we can’t turn off the aging gene, as we’re able to do in the film, we do go to a lot of extremes to stay young.” Niccol, a New Zealander, had honed his filmmaking skills in London directing commercials, before arriving in Hollywood with a splash as writer and director of Gattaca.

The following year, he penned The Truman Show, which garnered him an Academy Award nomination for Best Screenplay Written Directly for the Screen. Niccol’s ability to bring together bold, new ideas with instantly relatable ones resonated with producer Eric Newman. “Like all of Andrew’s work, his screenplay for In Time really transported me, and I found myself in a world he had created,” Newman recalls.

“It was a parable, a socially conscious work and yet, like all his work, it was incredibly entertaining, fast-paced and brilliant.” Executive producer Andrew Z. Davis was eager to work on a film that was both a great ride and a social commentary: “In Time has resonance. Everyone can relate to a story about haves and have-nots, which is essentially what the story’s about.

But, at the same time, it has action, romance, and a political message. And as everyone knows, a good thriller has to have a ticking clock, whether you’re waiting for a bomb to go off or a hostage to get rescued. In this movie, it is actually a clock; time is the great discriminator.”

Executive producer Kristel Laiblin was taken with the intricacies of Niccol’s work and the flourishes in his storytelling: “Andrew’s way with telling a story is economical and evocative. The world of our hero moves quickly; no one wastes time.  At the opposite end is the world of the wealthy, where you’d never see anyone timing out.

You can spend time however you want—a leisurely game, like cards, which no one would play elsewhere. They are completely different worlds and Andrew created them both vividly in a few pages.”

Amy Israel, an executive producer on In Time, was at New Regency Productions when Niccol brought in the project and she, like all of her colleagues, sharply remembers her first read: “Andrew’s script was original, had a big idea and had a compelling emotional story at its core. It was special, and we all knew that from the start.

And the story took place in a world not unlike our own, sort of an alternate reality. Here, time is currency, and everyone is born with a body clock embedded on the wrist. At the age of 25, when the frontal lobe of the brain and the body are considered fully matured, that clock starts ticking – and you have one year to live.

Either you’re born into time, and have no worries, or you begin working your life away, literally.” Producer Eric Newman notes the speed with which Niccol introduces this world in his script. “The biggest challenge in a movie like this is how do we sell the world?” Newman explains. “Andrew did it in the first three pages of the script.

Will Salas wakes up, walks into a room, and there is a beautiful 25-year-old woman and he says, ‘Hi, Mom.’ And he’s got this counter on his wrist, and it’s counting down. And his mother gives him 30 minutes for lunch. You understand immediately that Will has 22 hours to live [unless he can obtain more time].

And that’s his mother, even though they appear the same age, and she just gave him time to buy a decent lunch. That’s brilliance in economy, which is difficult to accomplish in a script.”

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