• Categories

Vanilla 1.1.4 is a product of Lussumo. More Information: Documentation, Community Support.

 
    •  
      CommentAuthorsdtom
    • CommentTimeAug 11th 2014
    doesn't sound like won to invest in, at least according to Thomas
    Tom
    listen to more classical music!
  1. sdtom wrote
    doesn't sound like won to invest in, at least according to Thomas
    Tom


    it doesn't sad
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
    •  
      CommentAuthorSouthall
    • CommentTimeAug 11th 2014
    •  
      CommentAuthorDemetris
    • CommentTimeAug 11th 2014
    It's Ottman.
    Love Maintitles. It's full of Wanders.
  2. But there's plenty of non-abysmal Ottman. This just happens to be an abysmal one.
    •  
      CommentAuthorDemetris
    • CommentTimeAug 12th 2014
    There are a lot of non-abysmal Ottman's indeed; but he very rarely manages to actually dive above the surface of the unmemorable and impersonal film music writing, imo.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorDemetris
    • CommentTimeOct 16th 2014 edited
    I have to say i watched X-men days of future past (John Ottman) last night and heard the score in the movie (didn't have any opinion at all when i first listened it on disc 'cause i found it impersonal and auto-pilotIsh, thus postponed re-visiting until i watched the movie). The film is fantastic fun, a return for Singer, brilliantly directed and intense overall and the score in the movie is pretty good too. Loved the sparse but notable staccato choral elements in the action scenes, and the themes although not very memorable, i will have to re-visit to notice again. Nothing grand, but surprisingly enjoyable score in the movie, i'd say.I can't say i'll remember this score in a year or two, most probably will not (as always the case with this kind of Marvel scores, except for Silvestri's Avengers and Brian Tyler's brilliant IRON MAN 3), however this, and Tyler Bates' Guardian of the galaxy have been my two most notable and pleasant genre surprises this year so far.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorErik Woods
    • CommentTimeOct 16th 2014
    I thought the score was a missed opportunity. Boring BRAAAAAAAAHS and forgettable RC/MV stylings that lacked any sort of creativity.

    The movie on the other hand was exceptional!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  3. I was also heavily disappointed with whatever I heard from the album. It did work in the film as a lowest common denominator though. I have to, however, say, that I've never warmed up to Ottman's work and even Jack the Giant Slayer, while having some exceptional moments, was all over the place to me.
    http://www.filmmusic.pl - Polish Film Music Review Website
    • CommentAuthorMWippel
    • CommentTimeOct 16th 2014
    I think he made a good job in Usual Suspects or Eight Legged Freaks - but I agree, many of his scores lack of an own dictinctive voice. It´s very hard for me to say - this is an Ottman score, he has little that makes his music recognisable - and so this makes a lot of his music changable to me.
    •  
      CommentAuthorDemetris
    • CommentTimeOct 16th 2014
    Didn't like the horn of doom either, but the opening cue for instance, the opening scene with the choir, was very very good in the film.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorSteven
    • CommentTimeOct 16th 2014
    The opening cue was serviceable enough in its own right, but Ottman seemed to be under the impression it was the final battle scene, as though everything was in place to care enough about the characters and their motivations to get as excited as the music would want us to. It was far too overbearing for an opening scene, and in terms of basic narrative it just didn't work (impressive a scene though it was).
    •  
      CommentAuthorDemetris
    • CommentTimeOct 17th 2014
    Yeah it was a bit over the top i'll give you that, good points. Made me excited for the rest of the movie though, maybe that was their intention? coupled with the fact that it was a return for Singer and all the original cast and they assumed the audience knew this premise in advance, thus spark the enthusiasm a bit more right out of the opening scene?
    Love Maintitles. It's full of Wanders.
  4. I thought X-Men: Days of Future Pass was a mess. Some good moments, especially the counterpoint used in the last few cues, but otherwise a complete hodgepodge of temp track influences that don't gel with each other at all.
    •  
      CommentAuthorDemetris
    • CommentTimeOct 17th 2014
    Loved the choral work. What can i say? if someone uses choir ok, they instantly win some points over from me smile
    Love Maintitles. It's full of Wanders.
  5. And yet you don't like the Hobbit scores. dizzy
    •  
      CommentAuthorSteven
    • CommentTimeOct 19th 2014
    Or The Abyss. Mental.
  6. yeah too.
    •  
      CommentAuthorDemetris
    • CommentTimeOct 19th 2014
    Listen to Federico Jusid ISABEL scores and then compare again with the choral work in Hobbit or the last piece of Abyss (1 piece among drone). Not all choir work is the same smile
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorErik Woods
    • CommentTimeOct 20th 2014
    Demetris wrote
    or the last piece of Abyss (1 piece among drone).


    shocked

    It's as if you have NEVER even listened to The Abyss EVER with a comment like that.

    confused

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    • CommentAuthorTimmer
    • CommentTimeOct 20th 2014
    I agree with Erik, D, it's much more than one track amongst drone as you put it.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorDemetris
    • CommentTimeOct 20th 2014
    Not to me my friends smile
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorErik Woods
    • CommentTimeOct 20th 2014 edited
    There's more orchestral material in the score then there is synths. Again, I don't really think you've actually heard it.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  7. Hi guys,

    so, since there's always been a few rumors around him, I just trawled through John Ottman's BMI page and found quite a few interesting tidbits with regards to which additional composers/"ghostwriters" contributed to which cues on which scores. I know I'm not the only one who likes to know the specifics of who did what, so Without further ado:

    Apt Pupil
    Cat Bake - Larry Groupe

    Superman Returns (cue titles from complete score)
    Metropolis Mayhem - Lior Rosner

    Hide and Seek
    Hide and Seek (Emily's Theme) - Lior Rosner, Robert Kraft

    Fantastic Four: Rise of the Silver Surfer (cue titles from complete score)
    Main Title - Amanda Goodpaster
    Craters/I Can't Help You - Lior Rosner
    Chasing the Source - Lior Rosner
    Someone I Once Knew - Lior Rosner
    Silver Surfer Suite - Lior Rosner

    Orphan
    Main Title - Kristopher Gee
    Finding Max - Amanda Goodpaster
    Orphan's Revenge - Kristopher Gee, Mark Sayfritz

    The Losers - pretty much the whole score is co-credited to Lior Rosner
    Good Catch - Lior Rosner, Kristopher Gee

    The Resident
    Theme from The Resident - Edwin Wendler
    Main Titles/Nice Place - Edwin Wendler
    Rewind - Edwin Wendler
    First Night/Welcome Gift - Edwin Wendler
    My Life Now - Edwin Wendler
    Rough Day - Evan Palmer Monheit

    Jack the Giant Slayer
    The Battle - Lior Rosner

    Non-Stop - the whole score is co-credited to Edwin Wendler
    Damaged Goods - Joseph Bonn

    X-Men: Days of Future Past
    Hope (Xavier's Theme) - Lior Rosner (Hans Zimmer should get a credit for this one too :b )
    How Was She? - Lior Rosner
    All Those Voices - Lior Rosner
    Contacting Raven - Lior Rosner
    The Attack Begins - Dominic Lewis (yes, really!)
    Do What You Were Made For - Dominic Lewis
    I Have Faith in You/Goodbyes - Lior Rosner, Amanda Goodpaster
  8. Surprised you've not mentioned (or found) The Usual Suspect or 8 Legged Freaks.
    www.synchrotones.wordpress.com | www.synchrotones.co.uk | @Synchrotones | facebook | soundcloud | youtube
  9. Yeah, I know Larry Groupe was pretty heavily involved in a lot of Ottman's earlier-career scores (way more than just the one cue from Apt Pupil as well, I think), but those credits weren't available at BMI...if you know more, though, feel free to share. smile
    •  
      CommentAuthordgoldwas
    • CommentTimeMay 28th 2016
    Earlier this spring, composer John Ottman recorded his score to X-Men: Apocalypse, his third outing in the comic book film series. Directed by longtime collaborator Bryan Singer, the music for the film was recorded at the Newman Scoring Stage at 20th Century Fox, and ScoringSessions.com is thrilled to bring our readers a huge gallery of exclusive photos from the sessions!

    http://scoringsessions.com

    Enjoy!
    I consider a project a success when Thor says he won't buy it
    •  
      CommentAuthorSouthall
    • CommentTimeJun 4th 2016
  10. "...with James Newton Howard rather obviously seeping through from the temp-track" - I never knew JNH did The Shawshank Redemption! wink

    I must say I'm surprised you like this one so much. It's certainly a step up from Days of Future Past (not a difficult bar to clear) but it still suffers from Ottman's two greatest flaws. First, there's the inevitable temping: besides Shawshank in "Erik's Rebirth" (spell it with a K, Ottman!) and the continuing Lifeforce-ness of his main theme, you've got some actual, genuine JNH in the form of The Hunger Games in "Like a Fire", the action music in "You Betray Me" pulls from Brian Tyler's Expendables scores and I get the impression that the choral stuff in the opening few cues (as well as the Apocalypse theme) are inspired by Jupiter Ascending - at least he ditched the Inception nonsense from the last score! The fact that Ottman is his own editor and picks the temp himself just makes things that much worse; you can't even use the "director made him do it" defense! rolleyes

    Of course, all those temps would bother me less if it wasn't for Ottman's second and far more damning flaw: he struggles more than almost any film composer I know to write cohesively. It's all rattles and crashes and sudden moments of dissonance that come out of nowhere and it just doesn't flow at all. It reacts to the movie rather than adding to it or driving it. Sometimes that approach has led to a fairly entertaining score (e.g. Jack the Giant Slayer - which this is nowhere near), but I think it's that more than anything else which makes him such a frustrating composer for me. It's a shame because he can orchestrate well and has creative ideas, but they're always mushed together in such an incoherent way.

    Okay, rant over. shame
    •  
      CommentAuthorErik Woods
    • CommentTimeJun 4th 2016
    yeah

    Very well said, Edmund!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!