Age: 59
male
Marco Beltrami (born October 7, 1966) is an American composer of film and television scores. He has worked in several genres, including horror (Scream, Mimic, The Faculty, Resident Evil, The Woman in Black, Carrie, A Quiet Place, and The Nun II), action (Terminator 3: Rise of the Machines, Live Free or Die Hard, World War Z), science fiction (I, Robot, Snowpiercer), Western(3:10 to Yuma, Jonah Hex, The Homesman), and superhero (Hellboy, The Wolverine, Logan, Venom: Let There Be Carnage). A long-time collaborator of Wes Craven, Beltrami scored seven of the director's films, including the original four Craven-directed films in the Scream franchise (1996–2011). He has also worked with such directors as James Mangold, Guillermo del Toro, Tommy Lee Jones, Alex Proyas, Ole Bornedal, Kathryn Bigelow, Bong Joon-ho, Dan Gilroy, and John Krasinski. He has been nominated for two Academy Awards for 3:10 to Yuma (2007), The Hurt Locker (2008), and a Golden Globe Award for A Quiet Place (2018). He won a Satellite Award for Soul Surfer (2011) and an Emmy Award for Free Solo (2018). Description above from the Wikipedia article Marco Beltrami, licensed under CC-BY-SA, full list of contributors on Wikipedia.
Justice, and the enforcement of it, has changed. In the 22nd century, Japan enforces the Sibyl System, an objective means of determining the threat level of each citizen by examining their mental state for signs of criminal intent, known as their Psycho-Pass. Inspectors uphold the law by subjugating, often with lethal force, anyone harboring the slightest ill-will; alongside them are Enforcers, jaded Inspectors that have become latent criminals, granted relative freedom in exchange for carrying out the Inspectors' dirty work. Into this world steps Akane Tsunemori, a young woman with an honest desire to uphold justice. However, as she works alongside veteran Enforcer Shinya Kougami, she soon learns that the Sibyl System's judgments are not as perfect as her fellow Inspectors assume. With everything she has known turned on its head, Akane wrestles with the question of what justice truly is, and whether it can be upheld through the use of a system that may already be corrupt.
