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Now Playing XLI

General Discussions » Now Playing XLI (Posts 2491 to 2520 of 3120)

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  1. Hans Zimmer - Inception

    My favourite Zimmer score since his 2001 output. Very intelligent, ambient, emotional. I hope he goes into that direction more in the future.
    http://www.filmmusic.pl - Polish Film Music Review Website
    • CommentAuthorTimmer
    • CommentTimeFeb 1st 2012
    PawelStroinski wrote
    Hans Zimmer - Inception

    My favourite Zimmer score since his 2001 output. Very intelligent, ambient, emotional. I hope he goes into that direction more in the future.


    I would hope it's not a sound that gets overused. One of my very favourite scores of his.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  3. It's a typical "style changing" score of Hans's to me - combining very new stuff with some older inspirations (but the The Thin Red Line similarities were actually imposed by the director, who told him "Hey, everyone rips off that score, why don't you do it"). I talked to Hans a bit about it and he is still enamoured by the writing process. It was just perfect for him. He could go in directions he wanted to, crafted the score with a crew which understood what he was aiming at. Seems it was a perfect process for him.

    He wrote the score to dailies and the script. He was shocked that everything he wrote, including the earliest demos, was put in the film by Nolan, to the point of Hans confronting him whether there is not too much music. Nolan: Trust me, Hans, it's fine.
    http://www.filmmusic.pl - Polish Film Music Review Website
    • CommentAuthorTimmer
    • CommentTimeFeb 1st 2012
    NP : SWORD AND SORCERY : THE ADVENTURES OF CONAN - Basil Poledouris



    punk
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorplindboe
    • CommentTimeFeb 1st 2012
    Timmer wrote
    NP : SWORD AND SORCERY : THE ADVENTURES OF CONAN - Basil Poledouris

    punk


    I approve of this headbanging.

    Peter punk
    •  
      CommentAuthorSouthall
    • CommentTimeFeb 1st 2012
    Haywire - Holmes, David

    Funky stuff. Can't imagine it was too stretching for him, but it's enjoyable.
    http://www.movie-wave.net | http://facebook.com/moviewave
    • CommentAuthorAnthony
    • CommentTimeFeb 1st 2012
    PawelStroinski wrote
    Heavily overlooked Stop-Loss, too.


    Stop Loss is excellent!
    •  
      CommentAuthorErik Woods
    • CommentTimeFeb 1st 2012
    I'm currently editing down my Best of the New Millennium (2000-2010) show. What a treat it has been re-visiting the 15 scores that I will be presenting on the show!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorlp
    • CommentTimeFeb 1st 2012
    Anthony wrote
    PawelStroinski wrote
    Heavily overlooked Stop-Loss, too.


    Stop Loss is excellent!


    Is it more like Green Zone? Or like United 93? I have it, just haven't heard it.
  10. Think of a thematic, non-ambient and orchestral drama score. It's nothing like Green Zone.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorlp
    • CommentTimeFeb 1st 2012
    PawelStroinski wrote
    Think of a thematic, non-ambient and orchestral drama score. It's nothing like Green Zone.


    ORLY! Thank you for that.
    •  
      CommentAuthorSouthall
    • CommentTimeFeb 1st 2012
    Haywire - Eamonn Holmes

    Good stuff!
    http://www.movie-wave.net | http://facebook.com/moviewave
  13. markrayen wrote
    PawelStroinski wrote
    I mean that he gives a twist on the sound and here by Americana I don't only understand Copland's writing (which is quite prominent in Behind the Flag to me), but also the kind of Civil March marches that is epitomized by the "When Johnny Comes Marching Home" song (The Campaign and its arrangement of the main theme with a very prominent snare and flutes, but the solo electric cello gives it a darker twist) and John Phillip Souza's classic marches like The Washington Post (the snare in The Candidate). The Campaign sounds a bit like a parody of music generally played (though not quite recently) during presidential campaigns in America and that referred quite a lot to Americana, but not necessarily to Copland.


    I see! Because I've always felt a bit confused with the definition of what "americana" actually is by an objective definition. I think the Copland reference in this case is quite vague, since Desplat's phrases are so short and repetitious. The music is more within in a pop, almost R&B-like idiom with a rhythm section and small orchestral "riffs" and harmonic progressions on top. I checked some online sources and found that the term "americana" is most often associated with music derived from American forms such as country, blues and R&B... which indeed would make "Ides" a kind of fusion between the emotionally charged evocations of Copland, and the strong presence of an R&B rhythm section.

    The military aspects are, like you say, parodic! It urges a superficial comparison to Shostakovich's Leningrad symphony in a way - except here the parody comes partly from the "cheapness" and banality of the actual composition. I think the irony is extreme, almost arrogantly done....


    The campaign march doesn't play like a parody in the film when it happens. At that point in the film, it's underscoring the light martial energy of a campaign run by (at that point of the film) clever-but-good guys. In contrast, placing it at the end of the album, it starts to feel more like parody, because it comes after the score's most earnest music and is strangely light hearted in comparison.
    A butterfly thinks therefore I am
  14. Erik Woods wrote
    Motifs and themes are associated with characters and places in films. I don't care how many notes are written for one - re-using them in this fashion (the four note danger motif is pretty much "Quaritch" theme/motif) is shameless and for the most part a lazy decision on the part of Horner and/or Cameron.


    It's pretty film music-like though for a composer to have a formulaic way of getting at an emotion. (Old silent film music books come to mind -- 'use this piece when a heroine is in distress, and this one if she dies, and this one if she's rescued.') I used to get all uppity about this motif Horner kept dropping in, particularly given the self-importance of his public persona, but the more I think about it: (i) is it so different from repeated motifs by Steiner, Herrmann, Korngold, Barry and Goldsmith?; (ii) it isn't original anyway... it's a motif from Rachmaninov, and maybe it's a long-standing musical joke; (iii) obviously it feels like a solution to him... and I imagine if he wrote another 4 note motif or some quicker 5 note motif to plug the gaps where he constantly inserts this one, well, it'd probably not sound very different. It makes the experience less original, sure, and reminds you you're in just another movie if you notice film music, but most movies do that in a thousand other ways anyway. I value the guys who are original composers every time, and the collaborators who demand it of them, but genius should be rare.
    A butterfly thinks therefore I am
    •  
      CommentAuthorSouthall
    • CommentTimeFeb 1st 2012
    Clear and Present Danger - Horner, James

    A rarely-mentioned but top-class action score. Lots of creativity here (admittedly some of it comes in Horner finding creative ways of using past music, by him and others).
    http://www.movie-wave.net | http://facebook.com/moviewave
  16. NP: Milk (Danny Elfman)

    Nice score in its gentler parts. I wasn't in the mood for it when it came out, but today it's a good background listen.
    A butterfly thinks therefore I am
    • CommentAuthorTimmer
    • CommentTimeFeb 2nd 2012
    Southall wrote
    Haywire - Eamonn Holmes

    Good stuff!


    biggrin
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  18. The beauty of random shuffle: straight from the wonderful John Williams' track "Imperial Attack" from Star Wars to the raw "Dead Duck/Rabid Raccoon/M'Rai's Camp" from Leonard Rosenman's Prophecy.

    I can probably recite most of the dialogue and certain of the sound effects in exactly the right places in the former track (and I usually do) but I don't think that I have seen Prophecy.

    Extremes in both cases.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    •  
      CommentAuthorMartijn
    • CommentTimeFeb 2nd 2012
    FalkirkBairn wrote
    <...> "Imperial Attack" from Star Wars <...>

    I can probably recite most of the dialogue and certain of the sound effects in exactly the right places in the former track (and I usually do)


    So can (and do) I! punk

    You reckon we need professional help? shame
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorSouthall
    • CommentTimeFeb 2nd 2012
    Big Miracle - Cliff Eidelman

    Rather disappointingly bland.
    http://www.movie-wave.net | http://facebook.com/moviewave
  21. Martijn wrote
    You reckon we need professional help? shame

    No, not at all.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    •  
      CommentAuthorErik Woods
    • CommentTimeFeb 2nd 2012 edited
    Southall wrote
    Big Miracle - Cliff Eidelman

    Rather disappointingly bland.


    Yup!

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

    Saw the film earlier in the week, superb with a stellar performance by Liam Neeson (Northern Ireland's finest export). I was struck by the score and I'm really enjoying this first listen of it on album; it's ambient, moody and at times very emotional. I think you'd love it Thor (apart from the horror stuff). Have I just blindly jumped on the Streitenfeld hate band waggon? Now I'm cautiously optimistic for his 'Prometheus' score.
    •  
      CommentAuthorErik Woods
    • CommentTimeFeb 2nd 2012 edited
    NP: Secret Weapons Over Normandy - Michael Giacchino

    Perfection! Ba Ba Ba Ba BaDeBaBaaaaah!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    • CommentAuthorAnthony
    • CommentTimeFeb 2nd 2012
    punk
    •  
      CommentAuthorNautilus
    • CommentTimeFeb 2nd 2012
    Erik Woods wrote
    NP: Secret Weapons Over Normandy - Michael Giacchino

    Perfection! Ba Ba Ba Ba BaDeBaBaaaaah!

    -Erik-


    Maybe that's why he used one theme from it for Super 8.

    lol.
    • CommentAuthorAnthony
    • CommentTimeFeb 2nd 2012
    He said he wanted to use it in a movie. Couldn't have hurt to be a bit more original though, could it? wink
    •  
      CommentAuthorNautilus
    • CommentTimeFeb 2nd 2012
    Anthony wrote
    He said he wanted to use it in a movie. Couldn't have hurt to be a bit more original though, could it? wink


    Nope wink

    I hope he is not joining Horner's dark side of the force.

    By the way, You know I'm not using to take care about recording or mixing, or at least not very much, but Ghost Protocol sound is sooooo...CHEAP!
  29. I can't tell any difference between Super 8 and Ghost Protocol. It sound the same for me.
    •  
      CommentAuthorErik Woods
    • CommentTimeFeb 2nd 2012
    And both are bad recordings.

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

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