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Best cues of 2008
General Discussions » Best cues of 2008 (Posts 31 to 60 of 70)
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- CommentAuthorAnthony
- CommentTimeDec 6th 2008 edited
With only three weeks of the year left, it's probably about time to start winding things up for 2008. So what have been your favourite cues of the past 12 months?
"Afrika" (from "Afrika" by Wataru Hokoyama) - While I'm still waiting until Christmas day to hear the rest of the score (which I have high hopes for), I couldn't keep myself from listening to the main theme. Pure orchestral brilliance!
"Bangkok Dangerous" (from "Bangkok Dangerous" by Brian Tyler) - One of the most surprising cues - and scores - of the year. While I expected Tyler to just go crazy with the percussion, he actually created a score where the emotional moments are more favorable.
"Scooter Chase" (from "Bolt" by John Powell) - Sure it's not Powell doing the big choir writing, or even the wooden percussion thing, but this is probably the best Powell cue of the year in terms of his own style. It goes back to the more simple and melodic writing of his scores in 2003 and 2004. I'm glad he demonstrated that he can still write in this fashion, as for the past three years I've been worried!
"Roar!" (from "Cloverfield" by Michael Giacchino) - If anything deserves an Oscar this year, it's this. The only score cue in the entire movie, and it's 100% perfect.
"Why So Serious?" (from "The Dark Knight" by Hans Zimmer and James Newton Howard) - I didn't think I would ever enjoy Zimmer music this much, but on a purely technical level, this cue is spot on. Kudos to Mel Wesson for the ambient design.
"Clutch Then Shift" (from "Eagle Eye" by Brian Tyler) - If I could only pick one action cue from this year, it would have to be this. 6 minutes of complete Tyler-mayhem. And that's not even the best part - at two points in the cue it sounds as if the wall of noise is going to end, but after brief pauses it comes back and punches you in the face again.
"The Moon And The Superhero" (from "Hancock" by John Powell) - A shame this wasn't a proper superhero movie, as having this as a main theme would have been brilliant.
"Mountain Chase" (from "Horton Hears A Who! by John Powell") - Put simply, the most epic cue John Powell has ever written.
"Irina's Theme" (from "Indiana Jones & The Kingdom Of The Crystal Skull" by John Williams) - While the rest of the score felt a bit weak in places, the areas in which it shined were mainly populated by this slick, evil, sexy theme. Great use of the saxophone for its introduction!
"Hero" (from "Kung Fu Panda" by John Powell and Hans Zimmer) - Ultimate feel-good cue of the year. While later parts of the score were more moving, this couldn't be a better movie-opener!
"Hong Kong Chase" (from "Largo Winch" by Alexandre Desplat) - While the score features many other standout moments, the sheer confidence of the brass performance in this cue throws you our of your seat. More please!
"Arrival At The Freighter" (from "Lost" by Michael Giacchino) - I am literally praying for a release of this. Out of all 43 themes Giacchino has written for the show so far, the Freighter Theme is the most heroic, ominous and terrifying theme of all, and this cue has presents it in all its brilliance.
"Jungle Brawl" (from "Mercenaries 2: World In Flames" by Chris Tilton") - Tilton writes a career highlight, consisting of four minutes of pounding percussion and a catchy guitar motif.
"Oil Fields" (from "Quantum Of Solace" by David Arnold") - While it's probably one of the least coherent Bond scores (along with the movie), this cue presents the vamp in power-anthem fashion. Great stuff.
"The White House" (from "Turning Point: Fall Of Liberty" by Michael Giacchino) - Giacchino turns raw...rawer I mean. Providing some of the most aggressive action writing of his career, this cue really gets the adrenaline pumping.
"Success Montage" (from "Wanted" by Danny Elfman) - Elfman trades in his usual style of child-chorus and small metallic percussion for Powell's synthesizers and Giacchino's string writing, providing the second best action score of the year (the winner is "Eagle Eye"). -
- CommentAuthorDemonStar
- CommentTimeDec 6th 2008 edited
My favourites have been-
Hero - Kung Fu Panda (excellent opening stuff by Powell)
The Bridge - Kung Fu Panda (pounding action)
Like A Dog Chasing Cars - The Dark Knight (since I loved "Molossus" from BB)
Pursuit At Port Au Prince - Quantum Of Solace
The Jungle Chase - Indy IV
The Moon And The Superhero - Hancock (THE Powell cue of the year for me)
Mountain Chase - Horton Hears A Who! (Amazing action)
Scooter Chase - Bolt
Roar! - Cloverfield (said 'nuff) -
- CommentAuthorelenewton
- CommentTimeDec 6th 2008
Mountain Chase ---Horton
Hollywood Blvd, The Moon and The Superhero ---Hancock
Hero, Panda Po, The Sacred Pool of Tears ---Kung Fu Panda
Eagle Eye Main Title ---Eagle Eye
Target Terminated ---Quantum of Solace
Roar! ---Cloverfield
Success Montage ---Wanted
The Last Elemental ---Hellboy II
Building the Raft ---Journey to the Center of the Earth
Finale ---Gears of War 2
The Spell of the Skull ---Indiana Jones 4
End Titles Suite ---The Happening
La Lune ---La Lune (Chris Tilton) -
- CommentAuthorErik Woods
- CommentTimeDec 6th 2008
Anthony wrote
"Roar!" (from "Cloverfield" by Michael Giacchino) - If anything deserves an Oscar this year, it's this. The only score cue in the entire movie, and it's 100% perfect.
That's just plain ass silly. It's a stand alone piece of music that was played over top of the end credits. Roar should NOT be eligible for Oscar consideration.
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorErik Woods
- CommentTimeDec 6th 2008
What I'm about to do is something that irritates me about these types of threads because people just post lists with no explanation (except Anthony) but since I have to step out I'm just going to post my list and come back to it later.
Some of my favorites
"An End For A Prelude" - Alone in the Dark (Video Game) - Olivier Deriviere
"La Course De Chars" - Asterix Aux Jeux Olympiques - Frederic Talgorn
"Batman: Gotham Knight - End Credits Suite" - Batman: Gothic Knights - Christopher Drake / Robert J. Kral / Kevin Manthei
"Earth Zoom (In)" - Burn After Reading - Carter Burwell
"Harvey Two-Face" - The Dark Knight - Hans Zimmer / James Newton Howard
"The Sarlacc Unleashed" - The Force Unleashed (Video Game) - Mark Griskey
"Death And Transfiguration" - Hancock - John Powell
"End Title Suite" - The Happening - James Newton Howard
"Temple Ruins And The Secret Revealed" - Indiana Jones and the Kingdom of the Crystal Skull - John Williams
"Jungle Brawl" - Mercenaries 2: World In Flames (Video Game) - Chris Tilton
"The Flight of the Griffin" - The Spiderwick Chronicles - James Horner
"The Greatest Tragedy" - Stop-Loss - John Powell
"The Axiom" - WALL-E - Thomas Newman
"Define Dancing" - WALL-E - Thomas Newman
"Success Montage" - Wanted - Danny Elfman
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorSteven
- CommentTimeDec 6th 2008
Erik Woods wrote
Anthony wrote
"Roar!" (from "Cloverfield" by Michael Giacchino) - If anything deserves an Oscar this year, it's this. The only score cue in the entire movie, and it's 100% perfect.
That's just plain ass silly. It's a stand alone piece of music that was played over top of the end credits. Roar should NOT be eligible for Oscar consideration.
-Erik-
Technicalities. Regardless of medium, it deserves an Oscar. It just won't get one. -
- CommentAuthorAnthony
- CommentTimeDec 6th 2008
Steven wrote
Erik Woods wrote
Anthony wrote
"Roar!" (from "Cloverfield" by Michael Giacchino) - If anything deserves an Oscar this year, it's this. The only score cue in the entire movie, and it's 100% perfect.
That's just plain ass silly. It's a stand alone piece of music that was played over top of the end credits. Roar should NOT be eligible for Oscar consideration.
-Erik-
Technicalities. Regardless of medium, it deserves an Oscar. It just won't get one.
Well said Steven. I know it won't get an Oscar, but it does deserve one. -
- CommentAuthorErik Woods
- CommentTimeDec 6th 2008
Anthony wrote
Steven wrote
Erik Woods wrote
Anthony wrote
"Roar!" (from "Cloverfield" by Michael Giacchino) - If anything deserves an Oscar this year, it's this. The only score cue in the entire movie, and it's 100% perfect.
That's just plain ass silly. It's a stand alone piece of music that was played over top of the end credits. Roar should NOT be eligible for Oscar consideration.
-Erik-
Technicalities. Regardless of medium, it deserves an Oscar. It just won't get one.
Well said Steven. I know it won't get an Oscar, but it does deserve one.
No, it doesn't. It wasn't written for any specific scene. Don't go calling the end credits a scene. How relevant is it to the film itself? The end credit music doesn't make the film any better or any worse. It's ludicrous to think that this deserves an Oscar.
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorSteven
- CommentTimeDec 6th 2008
Erik Woods wrote
Anthony wrote
Steven wrote
Erik Woods wrote
Anthony wrote
"Roar!" (from "Cloverfield" by Michael Giacchino) - If anything deserves an Oscar this year, it's this. The only score cue in the entire movie, and it's 100% perfect.
That's just plain ass silly. It's a stand alone piece of music that was played over top of the end credits. Roar should NOT be eligible for Oscar consideration.
-Erik-
Technicalities. Regardless of medium, it deserves an Oscar. It just won't get one.
Well said Steven. I know it won't get an Oscar, but it does deserve one.
No, it doesn't. It wasn't written for any specific scene. Don't go calling the end credits a scene. How relevant is it to the film itself? The end credit music doesn't make the film any better or any worse. It's ludicrous to think that this deserves an Oscar.
-Erik-
You're missing the point, Erik. Of course it's not eligible for an Oscar, and we don't expect for a minute that it will get one. What we're saying, or at least what I'm certainly saying, is the music itself deserves an Oscar. It's Oscar worthy material.
Then again, the Oscars are a sham. They can go fuck themselves for all I care. -
- CommentAuthorErik Woods
- CommentTimeDec 6th 2008
Steven wrote
Erik Woods wrote
Anthony wrote
Steven wrote
Erik Woods wrote
Anthony wrote
"Roar!" (from "Cloverfield" by Michael Giacchino) - If anything deserves an Oscar this year, it's this. The only score cue in the entire movie, and it's 100% perfect.
That's just plain ass silly. It's a stand alone piece of music that was played over top of the end credits. Roar should NOT be eligible for Oscar consideration.
-Erik-
Technicalities. Regardless of medium, it deserves an Oscar. It just won't get one.
Well said Steven. I know it won't get an Oscar, but it does deserve one.
No, it doesn't. It wasn't written for any specific scene. Don't go calling the end credits a scene. How relevant is it to the film itself? The end credit music doesn't make the film any better or any worse. It's ludicrous to think that this deserves an Oscar.
-Erik-
You're missing the point, Erik. Of course it's not eligible for an Oscar, and we don't expect for a minute that it will get one. What we're saying, or at least what I'm certainly saying, is the music itself deserves an Oscar. It's Oscar worthy material.
I see.
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorDemetris
- CommentTimeDec 6th 2008
Steven wrote
Erik Woods wrote
Anthony wrote
"Roar!" (from "Cloverfield" by Michael Giacchino) - If anything deserves an Oscar this year, it's this. The only score cue in the entire movie, and it's 100% perfect.
That's just plain ass silly. It's a stand alone piece of music that was played over top of the end credits. Roar should NOT be eligible for Oscar consideration.
-Erik-
Technicalities. Regardless of medium, it deserves an Oscar. It just won't get one.
Totally agree. If only the other scores from 2008 were at that level.Love Maintitles. It's full of Wanders. -
- CommentAuthorDemetris
- CommentTimeDec 6th 2008
Erik Woods wrote
Steven wrote
Erik Woods wrote
Anthony wrote
Steven wrote
Erik Woods wrote
Anthony wrote
"Roar!" (from "Cloverfield" by Michael Giacchino) - If anything deserves an Oscar this year, it's this. The only score cue in the entire movie, and it's 100% perfect.
That's just plain ass silly. It's a stand alone piece of music that was played over top of the end credits. Roar should NOT be eligible for Oscar consideration.
-Erik-
Technicalities. Regardless of medium, it deserves an Oscar. It just won't get one.
Well said Steven. I know it won't get an Oscar, but it does deserve one.
No, it doesn't. It wasn't written for any specific scene. Don't go calling the end credits a scene. How relevant is it to the film itself? The end credit music doesn't make the film any better or any worse. It's ludicrous to think that this deserves an Oscar.
-Erik-
You're missing the point, Erik. Of course it's not eligible for an Oscar, and we don't expect for a minute that it will get one. What we're saying, or at least what I'm certainly saying, is the music itself deserves an Oscar. It's Oscar worthy material.
I see.
-Erik-
So let's toss every opening titles and end titles music ever written 'cause the titles aren't part of the film; incidentally, some of the most excellent suites of scores and film music pieces in particular carry the opening / main / end title tag.Love Maintitles. It's full of Wanders. -
- CommentAuthorSteven
- CommentTimeDec 6th 2008
I don't think Erik was tossing anything (sorry, couldn't resist
), he was merely arguing that 'Roar!' was not in anyway eligible for the Oscars thinking that both me and Anthony were saying it should get one this year.
-
- CommentAuthorDemetris
- CommentTimeDec 6th 2008
I don't see how any other main / end titles piece ever written is any different than Roar!Love Maintitles. It's full of Wanders. -
- CommentAuthorErik Woods
- CommentTimeDec 6th 2008 edited
Christodoulides wrote
I don't see how any other main / end titles piece ever written is any different than Roar!
That's no the issue. Roar was composed as an end title piece that has no dramatic effect within the film itself. Didn't match up with any visuals, etc. At least with 99% of other films there is actual underscore along with the main and end title piece. And 99% of the time the end title piece sums up the themes, motifs and other music that was already used in the film.
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorDemetris
- CommentTimeDec 6th 2008
I can see that; but just because the director didn't want the music in the film, does that make the cinematic value of the piece any lesser? Didn't Giacchino sit through the entire movie to get the feeling and the grip of the story and compose a piece of music with actual themes and motifs BASED on that movie? I don't think he just read the title of the movie, saw the poster and started hitting dry notes on the synth. Does the "film" value of film music depend on the number of repetitions throughout the movie? I'd argue that a couple of Arvo Part's notes on the piano appearing for a single minute in the movie are more programme music in core than the bunch of soulless synth-turned-to-orchestra scores on auto-pilot we get today. So does Giacchino's ROAR imo, a piece that is wholly narrative and cinematic in its coherent structure.Love Maintitles. It's full of Wanders. -
- CommentAuthorErik Woods
- CommentTimeDec 6th 2008 edited
Christodoulides wrote
I can see that; but just because the director didn't want the music in the film, does that make the cinematic value of the piece any lesser? Didn't Giacchino sit through the entire movie to get the feeling and the grip of the story and compose a piece of music with actual themes and motifs BASED on that movie? I don't think he just read the title of the movie, saw the poster and started hitting dry notes on the synth. Does the "film" value of film music depend on the number of repetitions throughout the movie? I'd argue that a couple of Arvo Part's notes on the piano appearing for a single minute in the movie are more programme music in core than the bunch of soulless synth-turned-to-orchestra scores on auto-pilot we get today. So does Giacchino's ROAR imo, a piece that is wholly narrative and cinematic in its coherent structure.
The issue isn't what inspired Michael to write the piece or whether or not it sounds cinematic the fact is it wasn't featured in the film itself (minus main and end credits) and didn't add any emotions to the story as it was told.
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorDemetris
- CommentTimeDec 6th 2008
I'll give you that, if you view it that way you're correct. I suppose the academy views it as such too?Love Maintitles. It's full of Wanders. -
- CommentAuthorDemetris
- CommentTimeDec 6th 2008
On the above list of scores, add WANTED and STANDARD OPERATING PROCEDURE. How could i forget those.Love Maintitles. It's full of Wanders. -
- CommentAuthorPawelStroinski
- CommentTimeDec 6th 2008
Which pieces from those?http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentAuthorDemetris
- CommentTimeDec 6th 2008
[off topic] the whole scores
[/off topic]
Anyway, count me out, not a fan of isolated pieces. I love the whole thing.Love Maintitles. It's full of Wanders. -
- CommentAuthorNautilus
- CommentTimeDec 7th 2008 edited
Sacred Pool of Tears - Kung Fu panda
A dark Knight - The Dark Knight
Waterwate - Frost /Nixon
Hollywood Boulevard- Hancock
The greatest tragedy - Stop Loss
Jojo Saves the Day - Horton Hears a Who
Pursuit at port Prince -Quantum of Solace
In the army Chamber - Hellboy II
"End Title Suite" - The Happening
Succes Montage -Wanted
Roar! -Cloverfield
Rules of Engagement -Rambo
Jungle Chase - Indy 4
Is Lost Season 3 considered a 08 score? because I can say 7 or 8 cues from it
-
- CommentAuthorHeeroJF
- CommentTimeDec 7th 2008
Erik Woods wrote
Anthony wrote
Steven wrote
Erik Woods wrote
Anthony wrote
"Roar!" (from "Cloverfield" by Michael Giacchino) - If anything deserves an Oscar this year, it's this. The only score cue in the entire movie, and it's 100% perfect.
That's just plain ass silly. It's a stand alone piece of music that was played over top of the end credits. Roar should NOT be eligible for Oscar consideration.
-Erik-
Technicalities. Regardless of medium, it deserves an Oscar. It just won't get one.
Well said Steven. I know it won't get an Oscar, but it does deserve one.
No, it doesn't. It wasn't written for any specific scene. Don't go calling the end credits a scene. How relevant is it to the film itself? The end credit music doesn't make the film any better or any worse. It's ludicrous to think that this deserves an Oscar.
-Erik-
Okay, so it doesn't deserve an Oscar because it wasn't written to accompany any film footage and therefore isn't film music and so doesn't qualify for an Oscar...
Okay, so then it deserves a Grammy! How about that? It's a stand-alone piece, which is what the Grammy reward.
I think the point everyone was saying is that it deserves something! No matter what it is.
(actually I'm taking you guys on faith on this one because I haven't heard it. But I'd like to)''The mandate, as well as the benefit, of responsibility is the ability to tell when one can afford to be irresponsible.'' - Me -
- CommentAuthorDemetris
- CommentTimeDec 7th 2008
If iron man deserves a Grammy by their standards, i am sure Mr.Giacchino would like to stay the fuck away.Love Maintitles. It's full of Wanders. -
- CommentAuthorHeeroJF
- CommentTimeDec 7th 2008
lol. Grammy is an award you can accept in the comfort of your own home, away from the phony glitz.
It occurs to me that since the "Grammy" award is named after the "grammophone" invention that used to play all our popular much in the days of yore, shouldn't we update the name to today's technology?
The "Lasery?"
Or even the "iPody?"
"EmPeeThree?"''The mandate, as well as the benefit, of responsibility is the ability to tell when one can afford to be irresponsible.'' - Me -
- CommentAuthorMiya
- CommentTimeDec 7th 2008 edited
I have only two albums from 2008...
Prince Caspian Flees & The Door In The Air
from The Chronicles Of Narnia: The Lion, The Witch And The Wardrobe by Harry Gregson-Williams
Deep Sea Ranch, Empty Bucket, Little Sisters, Tears of Sosuke
from Ponyo On The Cliff By The Sea by Joe Hisaishi
It's really hard to choose from Ponyo... every cues are fantastic.
Labels are for cans, not people. - Anthony Rapp -
- CommentAuthorAnthony
- CommentTimeDec 7th 2008
Christodoulides wrote
If iron man deserves a Grammy by their standards, i am sure Mr.Giacchino would like to stay the fuck away.
-
- CommentAuthorNunoM
- CommentTimeDec 7th 2008
"Song Of Praise For Mother And The Sea" : Ponyo On The Cliff By The Sea - Joe Hisaishi
"Roar!" : Cloverfield - Michael Giacchino
"Agent Of Chaos" : The Dark Knight - Hans Zimmer & James Newton Howard
"The Departure" : Indiana Jones And The Kingdom Of The Crystal Skull - John Williams
"Night At The Opera" : Quantum Of Solace - David Arnold
"Battle Adagio" : Rambo - Brian Tyler
"Hero" : Kung Fu Panda - Hans Zimmer & John Powell -
- CommentAuthorfranz_conrad
- CommentTimeDec 7th 2008
Erik Woods wrote
No, it doesn't. It wasn't written for any specific scene.
I think the flipside of the argument that 'Roar!' isn't even remotely a score is that it means all end credits sequences aren't score (unless by some qualification that they must have started in the film). Some very good babies get thrown out with that bathwater, including all those superlative concert arrangements that really a lot of great scores into listenable album territory. I agree they're not Oscar-able, but those awards are so beneath contempt that the real question should simply be whether they're award-worthy.A butterfly thinks therefore I am -
- CommentAuthorHeeroJF
- CommentTimeDec 8th 2008 edited
A typical end credit suite usually doesn't come by itself though. It is there as a recap of a generally fabulous score that is up to the level of said suite.
Star Wars' oscar, for instance, did not come from the strength of its end credits alone!
My own favourite cues of 2008 (like Miya, I'm not completely caught up with some of the recent releases, such as Dark Knight or Quantum of Solace) would have to be:
- Hollywood Blvd from Hancock
- That entire action suite from the end of Horton Hears a Who. This is why I'm so upset at John Powell's practice of splitting his magnificent action opuses into several tracks. It keeps me from referring to them and praise them as a single piece of work, as they deserve it. But truly, some of the last tracks of Horton truly do run interrupted, and my vote goes to that single running action sequence, which culminates with "We are heeeeeeeeeere!!!". Also, "Mountain Chase" gets a strong second vote.
Need I to say that it's been a John Powell year in my opinion?''The mandate, as well as the benefit, of responsibility is the ability to tell when one can afford to be irresponsible.'' - Me