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      CommentAuthorErik Woods
    • CommentTimeAug 11th 2008
    Christodoulides wrote
    Erik Woods wrote
    The opening cue is fantastic (albeit a Goldenthal rip off,) Howard's new Harvey Dent theme is something I was hoping to hear in the first score and the adaptation and variations on the already existing material is much approved on in The Dark Knight. I find it a much more cohesive listen and far more interesting musically. However, there are still a bunch of cues that are still as bland and uninteresting as the stuff in the first score and the final 16 minute cue is simply one of the most overrated cues of Zimmer's career.


    -Erik-


    Goldenthal rip-off? How come? That piece screams ZImmer all over it, from all aspects. BlackHawk down in specific AND Batman Begins.


    Haven't heard HEAT then, have you?

    -Erik-
    host and producer of CINEMATIC SOUND RADIO | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
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      CommentAuthorlp
    • CommentTimeAug 11th 2008
    Erik Woods wrote
    Haven't heard HEAT then, have you?

    -Erik-


    Not speaking for Demetris, but I've heard Heat, and the only thing that is shared between Heat and TDK is the pulsing strings, TDK takes it up notch by generating it with only one violin moon
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      CommentAuthorlp
    • CommentTimeAug 11th 2008
    Erik Woods wrote
    lp wrote
    NP - Kevin Kiner - The Clone Wars.

    I swear, this sounds like a John Debney/Joel McNeely jobber, with competent orchestral fireworks that are destined to be buried under the sound mix. Functional stuff, but nothing exceptional for sure.


    Actually, give me McNeely and derivate Debney over this ANY DAY.

    -Erik-


    Eh, same difference.

    Anyone noticed how the 12th track, "General Loathsom & Battle Strategy", seems to incorporate a bit of Jerry Goldsmith's theme from The 13th Warrior?
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      CommentAuthorDemetris
    • CommentTimeAug 11th 2008
    Erik Woods wrote
    Christodoulides wrote
    Erik Woods wrote
    The opening cue is fantastic (albeit a Goldenthal rip off,) Howard's new Harvey Dent theme is something I was hoping to hear in the first score and the adaptation and variations on the already existing material is much approved on in The Dark Knight. I find it a much more cohesive listen and far more interesting musically. However, there are still a bunch of cues that are still as bland and uninteresting as the stuff in the first score and the final 16 minute cue is simply one of the most overrated cues of Zimmer's career.


    -Erik-


    Goldenthal rip-off? How come? That piece screams ZImmer all over it, from all aspects. BlackHawk down in specific AND Batman Begins.


    Haven't heard HEAT then, have you?

    -Erik-


    Of course i have but Joker's sound scheme for THE DARK KNIGHT by Zimmer is a completely different vehicle, very close to his own sound, i can't see why we should connect it to HEAT (a very good score but with a sound to which Goldenthal hasn't returned directly since and isn't his trademarked sound either). Just re-listen to BlackHawk Down, "Synchrotone" in particular and the score in general. It's all there.
    Love Maintitles. It's full of Wanders.
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      CommentAuthorErik Woods
    • CommentTimeAug 11th 2008
    lp wrote
    Erik Woods wrote
    lp wrote
    NP - Kevin Kiner - The Clone Wars.

    I swear, this sounds like a John Debney/Joel McNeely jobber, with competent orchestral fireworks that are destined to be buried under the sound mix. Functional stuff, but nothing exceptional for sure.


    Actually, give me McNeely and derivate Debney over this ANY DAY.

    -Erik-


    Eh, same difference.



    Not the same difference. I would take a McNeely's Shadows score or a Lair styled score over Kiner's any day.

    -Erik-
    host and producer of CINEMATIC SOUND RADIO | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorErik Woods
    • CommentTimeAug 11th 2008
    Christodoulides wrote
    Erik Woods wrote
    Christodoulides wrote
    Erik Woods wrote
    The opening cue is fantastic (albeit a Goldenthal rip off,) Howard's new Harvey Dent theme is something I was hoping to hear in the first score and the adaptation and variations on the already existing material is much approved on in The Dark Knight. I find it a much more cohesive listen and far more interesting musically. However, there are still a bunch of cues that are still as bland and uninteresting as the stuff in the first score and the final 16 minute cue is simply one of the most overrated cues of Zimmer's career.


    -Erik-


    Goldenthal rip-off? How come? That piece screams ZImmer all over it, from all aspects. BlackHawk down in specific AND Batman Begins.


    Haven't heard HEAT then, have you?

    -Erik-


    Of course i have but Joker's sound scheme for THE DARK KNIGHT by Zimmer is a completely different vehicle, very close to his own sound, i can't see why we should connect it to HEAT (a very good score but with a sound to which Goldenthal hasn't returned directly since and isn't his trademarked sound either). Just re-listen to BlackHawk Down, "Synchrotone" in particular and the score in general. It's all there.


    Heat came first.

    -Erik-
    host and producer of CINEMATIC SOUND RADIO | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
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      CommentAuthorDemetris
    • CommentTimeAug 11th 2008
    You don't say rolleyes wink
    Love Maintitles. It's full of Wanders.
  1. I do agree with the Heat similarity, though not as a rip-off. I would rather say that the idea for a soundscape is taken from Heat. This argument is strengthened by the fact that Nolan admits that Heat was a big inspiration for Dark Knight.
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorDemetris
    • CommentTimeAug 11th 2008
    Well that might be as HEAT is a very influential film and score but a Rip-off? Uh-uh, no f* way.
    Love Maintitles. It's full of Wanders.
  2. Yeah, I don't believe it's a rip-off, just a soundscape reference. Though the glissando in the beginning is something Goldenthal did before indeed.
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorDemetris
    • CommentTimeAug 11th 2008
    It's a glissando. It's been done for over 200 years now wink
    Love Maintitles. It's full of Wanders.
  3. To that scale? biggrin
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorDemetris
    • CommentTimeAug 11th 2008
    .....and Chris Nolan didn't direct BLACKHAWK DOWN too wink
    Love Maintitles. It's full of Wanders.
  4. No, he didn't. Would he want to? biggrin
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorDemetris
    • CommentTimeAug 11th 2008 edited
    Don't know, don't care. Point is that the sound of WHY SO SERIOUS is already created / developed in BHD before and that wasn't a NOLAN film and therefore no relation to HEAT, at least in the way which you described above. Maybe Zimmer liked the score anyway but that's another case, it's just a soundscape reference AT MOST, as you pointed out before too.
    Love Maintitles. It's full of Wanders.
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      CommentAuthorLSH
    • CommentTimeAug 11th 2008
    NP: Dinosaur - James Newton Howard

    An awesome score, full of emotion and a great mix of gentle and aggressive material. This was the score that turned me into the JNH nut I am today. Fantastic stuff and a firm favourite of mine.

    punk
    •  
      CommentAuthorlp
    • CommentTimeAug 11th 2008
    Erik Woods wrote

    Not the same difference. I would take a McNeely's Shadows score or a Lair styled score over Kiner's any day.

    -Erik-


    Yes, I know you would. But that's not the point. The point was that Debney or McNeely would have still generated the same score that Kiner's done for this production.
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      CommentAuthorWilliam
    • CommentTimeAug 11th 2008 edited
    lp wrote
    The point was that Debney or McNeely would have still generated the same score that Kiner's done for this production.


    applause
    •  
      CommentAuthorSouthall
    • CommentTimeAug 12th 2008
    What on earth in Joel McNeely's career suggests he would ever write something like The Clone Wars? I mean, he's even written a Star Wars score for goodness sake, which is nothing like it. I will completely take on board the Debney comparison - it's the same sort of generic stuff, albeit done with far less flair than Debney would have - but nothing like McNeely.
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      CommentAuthorlp
    • CommentTimeAug 12th 2008
    Southall wrote
    What on earth in Joel McNeely's career suggests he would ever write something like The Clone Wars? I mean, he's even written a Star Wars score for goodness sake, which is nothing like it. I will completely take on board the Debney comparison - it's the same sort of generic stuff, albeit done with far less flair than Debney would have - but nothing like McNeely.


    Because the control of the music still lies with Mr George Lucas.
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      CommentAuthorSouthall
    • CommentTimeAug 12th 2008
    OK, if that was the point then I apologise for missing it, but I don't necessarily agree with it.
  5. Christodoulides wrote
    Erik Woods wrote
    Christodoulides wrote
    Erik Woods wrote
    The opening cue is fantastic (albeit a Goldenthal rip off,) Howard's new Harvey Dent theme is something I was hoping to hear in the first score and the adaptation and variations on the already existing material is much approved on in The Dark Knight. I find it a much more cohesive listen and far more interesting musically. However, there are still a bunch of cues that are still as bland and uninteresting as the stuff in the first score and the final 16 minute cue is simply one of the most overrated cues of Zimmer's career.


    -Erik-


    Goldenthal rip-off? How come? That piece screams ZImmer all over it, from all aspects. BlackHawk down in specific AND Batman Begins.


    Haven't heard HEAT then, have you?

    -Erik-


    Of course i have but Joker's sound scheme for THE DARK KNIGHT by Zimmer is a completely different vehicle, very close to his own sound, i can't see why we should connect it to HEAT (a very good score but with a sound to which Goldenthal hasn't returned directly since and isn't his trademarked sound either). Just re-listen to BlackHawk Down, "Synchrotone" in particular and the score in general. It's all there.


    The Joker's sound in the film, though achieved largely synthetically, is derivative of Goldenthal's use of an orchestra of electric guitars* in HEAT. This is not too hard to believe, because it accompanies a scene which is very strongly influenced by HEAT, and Nolan has made his affection for the film quite clear.

    * Mind you, it should be noted that the use of an orchestra of electric guitars was an innovation Goldenthal owed to Glen Branca, a New York based composer who experimented with that ensemble in the 80s. Goldenthal hasn't returned to the sound, because he hasn't scored a mature masculine-themed film since. (I have a feeling this one wouldn't have worked for FRIDA.)

    lp wrote
    ...TDK takes it up notch by generating it with only one violin moon


    Don't be silly.


    NP: Arias from Philip Glass operas

    Powerful stuff. Very powerful.
    A butterfly thinks therefore I am
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      CommentAuthorDemetris
    • CommentTimeAug 12th 2008
    franz_conrad wrote

    NP: Arias from Philip Glass operas

    Powerful stuff. Very powerful.


    Custom-made compilation or an official release?
    Love Maintitles. It's full of Wanders.
  6. Custom-made. It's just 6 tracks actually. I tend not to be able to survive his operas. wink
    A butterfly thinks therefore I am
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      CommentAuthorlp
    • CommentTimeAug 12th 2008
    Southall wrote
    OK, if that was the point then I apologise for missing it, but I don't necessarily agree with it.

    shocked
    You've heard what happened with the prequel scores right? I mean, we've all know what happen when George Lucas doesn't like something, he'd replace it with something else. The moment I heard Kiner's score, I knew that Lucas wanted to "update" the sound, giving it more edge and what not.
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      CommentAuthorErik Woods
    • CommentTimeAug 12th 2008
    lp wrote
    Erik Woods wrote

    Not the same difference. I would take a McNeely's Shadows score or a Lair styled score over Kiner's any day.

    -Erik-


    Yes, I know you would. But that's not the point. The point was that Debney or McNeely would have still generated the same score that Kiner's done for this production.


    No... they would NOT have! Nothing Kiner has written has been up to par with a McNeely or Debney score.

    -Erik-
    host and producer of CINEMATIC SOUND RADIO | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    • CommentAuthorTimmer
    • CommentTimeAug 12th 2008
    NP : LITTLE BUDDHA - Ryuichi Sakamoto



    Brilliant! I haven't heard The Dark Knight but I'm betting this sounds nothing like it! wink
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
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      CommentAuthorBregt
    • CommentTimeAug 12th 2008
    Christodoulides wrote
    It's a glissando. It's been done for over 200 years now wink

    biggrin

    I thinkk my wise brain wuklll decide to clode this tipic!
    Kazoo
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      CommentAuthorBregt
    • CommentTimeAug 12th 2008
    Iz closed it
    Kazoo
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      CommentAuthorsdtom
    • CommentTimeDec 5th 2008
    I purchased a $3.00 jewel case for my copy of Kong. Does that answer the question
    listen to more classical music!