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- CommentAuthorAnthony
- CommentTimeNov 26th 2008
Erik Woods wrote
Anthony wrote
Erik Woods wrote
NP: Hancock - John Powell
One of the biggest laughs I got was Powell's nod to Superman when the new and improved Hancock arrives to save the day in the middle of the film. Is that cue even on the score album?!
Sorry bud, it ain't.
That is RETARDED! A great tip of the cap to Superman - one of the most memorable cue in the score - and they don't include it on the album? How frustrating!
-Erik-
Yup, that and the movie version of The Trailer.
And they even replaced SUV Chase with R&B rubbish.
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- CommentAuthorHeeroJF
- CommentTimeNov 26th 2008
Nautilus wrote
There is no other K2's fan? ( i mean the score, not the mountain ). Seriously????
Why people never talk about this all time top Zimmer score???
It's quite good! There are so many Zimmer scores to discuss, that explains why certain great ones are rarely brought up.
For one, I'm shocked that Radio Flyer isn't discussed. It's probably my all-time #2 Zimmer favourite (my #1 being Gladiator). It is so completely charming and rich, despite the short running time.''The mandate, as well as the benefit, of responsibility is the ability to tell when one can afford to be irresponsible.'' - Me -
- CommentAuthorMartijn
- CommentTimeNov 26th 2008
Stavroula wrote
Once more just because I need to relax...
El Cid ~ Miklos Rozsa
That RELAXES you?
It makes my heart burst out of my chest through sheer levels of testosterone and insanely jingoistic emotion every single time!'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn -
- CommentAuthorTimmer
- CommentTimeNov 26th 2008
HeeroJF wrote
Nautilus wrote
There is no other K2's fan? ( i mean the score, not the mountain ). Seriously????
Why people never talk about this all time top Zimmer score???
It's quite good! There are so many Zimmer scores to discuss, that explains why certain great ones are rarely brought up.
For one, I'm shocked that Radio Flyer isn't discussed. It's probably my all-time #2 Zimmer favourite (my #1 being Gladiator). It is so completely charming and rich, despite the short running time.
It HAS been talked about before Jordi, but that may have been at ScoreReviews? I've mentioned before how much I enjoy the K2 score, it was the second Zimmer score I bought ( after Backdraft ).
I'm a fan of the mountain too, it's still my # 1 ambition to one day hike there.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorEric
- CommentTimeNov 26th 2008
Skinwalkers - Andrew Lockington
This score is a mix of traditional orchestral elements , electronics and some medieval instruments .
It is my first listen and I quite like it . It's got the traditional eerie tracks and the more action packed stuff as well . The CD ends with a heavy song from Braintoy called Destitutorial . That track would shurely wake you should you fall asleep during the movie ...
I haven't seen the film yet myself , so I can't comment on that . Mr. Lockington also composed the music for the recent "Journey To The Center Of The Earth" and "City Of Ember" that is produced by Tom Hanks ..."Simplicity is the key to brilliance" -
- CommentAuthorStavroula
- CommentTimeNov 26th 2008
Martijn wrote
Stavroula wrote
Once more just because I need to relax...
El Cid ~ Miklos Rozsa
That RELAXES you?
It makes my heart burst out of my chest through sheer levels of testosterone and insanely jingoistic emotion every single time!
I know the feeling you describe...I get every time...but Love Scene gives me more than what youjust descrided.I don't know how to explain it...Have you ever found yourself in the arms of the one you love and yet knowing that it's not enough?It's like being caught in a storm of emotions that your body and your mind cannot contain and you need to lose yourself in the soul of the other.I don't know if you understand what I mean but this is how I feel.Elevated and relaxed at he same time.Whatever you gaze rests on,do not use your vision, but the eyes of your soul...She knows better... -
- CommentAuthorMartijn
- CommentTimeNov 26th 2008
Aye. I've been saying that for years.
Truly great music transcends words. Its messages is heard and understood and echoed by so many emotions at the same time that there is no single point of reference. It may be very close to a spiritual (or at least revelatory) experience.
It IS magic.'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn -
- CommentAuthorSteven
- CommentTimeNov 26th 2008 edited
Martijn wrote
Aye. I've been saying that for years.
Truly great music transcends words. Its messages is heard and understood and echoed by so many emotions at the same time that there is no single point of reference. It may be very close to a spiritual (or at least revelatory) experience.
It IS magic.
Exactly why I have no need to believe in anything supernatural.
Not a dig at those who do, I'm merely describing how much music means to me. -
- CommentAuthorfranz_conrad
- CommentTimeNov 26th 2008
Erik Woods wrote
Back to The Curious Case of Benjamin Button - Alexandre Desplat
... The first half, minus "A New Life" (which lifts from the far superior Birth) ...
This is an interesting one. Really the only repeated ingredient is that flute ostinato, which appears for about 30 seconds. It was always so peculiar to hear in the first place that it feels like a major compositional idea has been trotted out again. But as I think about it, there must be so many composers who've repeated a rhythmic idea at some point for the same instrument. It doesn't quite leap out like a (sorry to say it, Horner fans) Horner-style repackaging. Here at least it has a very different feel - the other layers at that moment give off a resplendant feel that is warmer and more 'lovely' than BIRTH, where the flute always felt eerier. 'People's Princess' from THE QUEEN (taking the whole structure of the BIRTH 'Prologue', a similar electronic bass line, and minor orchestrational details) was a clearer lift to me.
I won't defend the overall score, because I just tend to go for this sort of stuff, and I know you don't, and I think that's just a difference in the sort of thing we're into. I hear enough going on in the orchestrations (and particularly his counterpoint, here more than ever) for it to feel like this composer has come a long way. I was a slightly concerned the romantic sound of PAINTED VEIL and LUST, CAUTION, strong as it was for those two films, might become a bit of a crutch.
If there's a limitation for me? It's a limitation that applies to many of his scores... the sound is always so precise. The playing is always so precise... He's not a composer whose music ever feels like the performers cut loose on the recording stage and played it 'with all their hearts', or were faced with another conductor, etc. That does affect how the music feels emotionally, I think, as one can feel the counting out of a metronome at moments, timing musical nuances for emotional effect. BUTTON has a few cases where it feels like it cuts loose, but for the most part, this is what you might call the downside of the Desplat sound.A butterfly thinks therefore I am -
- CommentAuthorErik Woods
- CommentTimeNov 26th 2008 edited
franz_conrad wrote
Erik Woods wrote
Back to The Curious Case of Benjamin Button - Alexandre Desplat
... The first half, minus "A New Life" (which lifts from the far superior Birth) ...
This is an interesting one. Really the only repeated ingredient is that flute ostinato, which appears for about 30 seconds. It was always so peculiar to hear in the first place that it feels like a major compositional idea has been trotted out again. But as I think about it, there must be so many composers who've repeated a rhythmic idea at some point for the same instrument. It doesn't quite leap out like a (sorry to say it, Horner fans) Horner-style repackaging. Here at least it has a very different feel - the other layers at that moment give off a resplendant feel that is warmer and more 'lovely' than BIRTH, where the flute always felt eerier. 'People's Princess' from THE QUEEN (taking the whole structure of the BIRTH 'Prologue', a similar electronic bass line, and minor orchestrational details) was a clearer lift to me.
I guess you have a point. But to me the BIRTH flute jumped right out and smacked me in the face. But you are right, all composers have recycled rhythmic ideas, certain techniques, and whatnot, but the flute and the pulsating electronic bass line was a unique devise that belonged to BIRTH and made that score stand out. It's reuse diminishes my view of BUTTON, knocks a few points off the original factor and my evaluation of Desplat as a composer. I still think he is one of the most talented and gifted composers to come along but I'm waiting for him to come out of his shell and too stop relying on the same old tricks.
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorThomas Glorieux
- CommentTimeNov 26th 2008 edited
NP: Some classic Poledouris suites I've made
- Flesh + Blood
- Wind
- For Love of the Game
- Quigley Down Under
- The Touch
- Lonesome Dove
...
ahhhh this is all brilliant
waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh -
- CommentAuthorAnthony
- CommentTimeNov 26th 2008
The Curious Case Of Benjamin Button | Alexandre Desplat
It's good, but I fail to see why it's as amazing as some people have made it out to be.
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- CommentAuthorSouthall
- CommentTimeNov 26th 2008
Afrika - Wataru Hokoyama
Don't usually go for video game scores, but this one got some rave reviews so I thought I'd give it a go. It doesn't live up to its opening title, but it's reasonably good. -
- CommentAuthorHeeroJF
- CommentTimeNov 26th 2008
NP: Jumper, John Powell
I can easily see why I enjoyed this more than Hancock at first, but I see now that it has a much less-developed progression than Hancock. It's still pretty good, with some great little middle-eastern influences.''The mandate, as well as the benefit, of responsibility is the ability to tell when one can afford to be irresponsible.'' - Me -
- CommentAuthorAnthony
- CommentTimeNov 26th 2008
HeeroJF wrote
NP: Jumper, John Powell
I can easily see why I enjoyed this more than Hancock at first, but I see now that it has a much less-developed progression than Hancock. It's still pretty good, with some great little middle-eastern influences.
I was listening to this today as well. It's got some pretty impressive electronics, but other than that it's rather flawed. -
- CommentAuthorHeeroJF
- CommentTimeNov 26th 2008
Hm... I don't call it flawed... Just not an action masterpiece like Paycheck.''The mandate, as well as the benefit, of responsibility is the ability to tell when one can afford to be irresponsible.'' - Me -
- CommentAuthorfranz_conrad
- CommentTimeNov 26th 2008 edited
Erik Woods wrote
franz_conrad wrote
Erik Woods wrote
Back to The Curious Case of Benjamin Button - Alexandre Desplat
... The first half, minus "A New Life" (which lifts from the far superior Birth) ...
This is an interesting one. Really the only repeated ingredient is that flute ostinato, which appears for about 30 seconds. It was always so peculiar to hear in the first place that it feels like a major compositional idea has been trotted out again. But as I think about it, there must be so many composers who've repeated a rhythmic idea at some point for the same instrument. It doesn't quite leap out like a (sorry to say it, Horner fans) Horner-style repackaging. Here at least it has a very different feel - the other layers at that moment give off a resplendant feel that is warmer and more 'lovely' than BIRTH, where the flute always felt eerier. 'People's Princess' from THE QUEEN (taking the whole structure of the BIRTH 'Prologue', a similar electronic bass line, and minor orchestrational details) was a clearer lift to me.
I guess you have a point. But to me the BIRTH flute jumped right out and smacked me in the face. But you are right, all composers have recycled rhythmic ideas, certain techniques, and whatnot, but the flute and the pulsating electronic bass line was a unique devise that belonged to BIRTH and made that score stand out. It's reuse diminishes my view of BUTTON, knocks a few points off the original factor and my evaluation of Desplat as a composer. I still think he is one of the most talented and gifted composers to come along but I'm waiting for him to come out of his shell and too stop relying on the same old tricks.
-Erik-
Oh I agree - you can't hear it and not think of BIRTH. I think this will be his problem for some years to come. Partly because the flute is his training. But more likely because every job he's received since 2005 has probably been because the director of the film saw BIRTH.
Interesting also - the transparency of his recordings - every layer heard - means that we're more likely to detect a recycled idea in a Desplat score than just about any other composer. The lines aren't buried in the overall texture. (Howard Shore, or James Newton Howard, anyone? )A butterfly thinks therefore I am -
- CommentAuthorDemetris
- CommentTimeNov 26th 2008
Eric wrote
Skinwalkers - Andrew Lockington
This score is a mix of traditional orchestral elements , electronics and some medieval instruments .
It is my first listen and I quite like it . It's got the traditional eerie tracks and the more action packed stuff as well . The CD ends with a heavy song from Braintoy called Destitutorial . That track would shurely wake you should you fall asleep during the movie ... I haven't seen the film yet myself , so I can't comment on that . Mr. Lockington also composed the music for the recent "Journey To The Center Of The Earth" and "City Of Ember" that is produced by Tom Hanks ...
Goldenthal does it betterLove Maintitles. It's full of Wanders. -
- CommentAuthorDemetris
- CommentTimeNov 26th 2008
franz_conrad wrote
Erik Woods wrote
franz_conrad wrote
Erik Woods wrote
Back to The Curious Case of Benjamin Button - Alexandre Desplat
... The first half, minus "A New Life" (which lifts from the far superior Birth) ...
This is an interesting one. Really the only repeated ingredient is that flute ostinato, which appears for about 30 seconds. It was always so peculiar to hear in the first place that it feels like a major compositional idea has been trotted out again. But as I think about it, there must be so many composers who've repeated a rhythmic idea at some point for the same instrument. It doesn't quite leap out like a (sorry to say it, Horner fans) Horner-style repackaging. Here at least it has a very different feel - the other layers at that moment give off a resplendant feel that is warmer and more 'lovely' than BIRTH, where the flute always felt eerier. 'People's Princess' from THE QUEEN (taking the whole structure of the BIRTH 'Prologue', a similar electronic bass line, and minor orchestrational details) was a clearer lift to me.
I guess you have a point. But to me the BIRTH flute jumped right out and smacked me in the face. But you are right, all composers have recycled rhythmic ideas, certain techniques, and whatnot, but the flute and the pulsating electronic bass line was a unique devise that belonged to BIRTH and made that score stand out. It's reuse diminishes my view of BUTTON, knocks a few points off the original factor and my evaluation of Desplat as a composer. I still think he is one of the most talented and gifted composers to come along but I'm waiting for him to come out of his shell and too stop relying on the same old tricks.
-Erik-
Oh I agree - you can't hear it and not think of BIRTH. I think this will be his problem for some years to come. Partly because the flute is his training. But more likely because every job he's received since 2005 has probably been because the director of the film saw BIRTH.
Interesting also - the transparency of his recordings - every layer heard - means that we're more likely to detect a recycled idea in a Desplat score than just about any other composer. The lines aren't buried in the overall texture. (Howard Shore, or James Newton Howard, anyone? )
And the piano waltz rendition of the main theme as heard in the last track also screams BIRTH from a mile away; but i don't mind, i just adore the score.Love Maintitles. It's full of Wanders. -
- CommentAuthorfranz_conrad
- CommentTimeNov 26th 2008
If only Goldenthal was STILL doing it better!
Come on Elliot - give us a lot of concert stuff, or give us some serious film scores!A butterfly thinks therefore I am -
- CommentAuthorHeeroJF
- CommentTimeNov 26th 2008
I think when Goldenthal makes his big comeback in films, we should all travel to meet somewhere and attend the premiere of that film wearing Goldenthal t-shirts.''The mandate, as well as the benefit, of responsibility is the ability to tell when one can afford to be irresponsible.'' - Me -
- CommentAuthorSouthall
- CommentTimeNov 26th 2008
I will also wear my Goldenthal underpants. -
- CommentAuthorfranz_conrad
- CommentTimeNov 27th 2008
NP: Red Cliff (Taro Iwashiro)
A colleague is playing it on her computer at work... I must say, it's sounding pretty boring and familiar. Nothing we haven't heard before.A butterfly thinks therefore I am -
- CommentAuthorHeeroJF
- CommentTimeNov 27th 2008
Southall wrote
I will also wear my Goldenthal underpants.
So that's where they went! I thought you were gonna give those back...''The mandate, as well as the benefit, of responsibility is the ability to tell when one can afford to be irresponsible.'' - Me -
- CommentAuthorHeeroJF
- CommentTimeNov 27th 2008
NP: White Fang 2, John Debney
My favourite Debney score. Fantastic, well-structured action, beatiful Americana themes... Just great.''The mandate, as well as the benefit, of responsibility is the ability to tell when one can afford to be irresponsible.'' - Me -
- CommentAuthorWilliam
- CommentTimeNov 27th 2008
NP: Bugdom - Mike Beckett
Light, cheerful little game score. Tracks like Night Attack are simply gorgeous! -
- CommentAuthorPanthera
- CommentTimeNov 27th 2008
HeeroJF wrote
NP: White Fang 2, John Debney
My favourite Debney score. Fantastic, well-structured action, beatiful Americana themes... Just great.
You know, I'm glad you said that. This is the first Debney score I ever heard, and it is still one of my favorites. I'm really happy someone else shares my praise for the score. -
- CommentAuthorHeeroJF
- CommentTimeNov 27th 2008 edited
^ Too true! It's fabulous. I guess it's always true that your first introduction to a composer tends to remain one of your favourites. This score was also one of my very first Debneys, as was The Relic, and sure enough, I'm pretty much as obsessed with that one, too.
NP: Joe vs. the Volcano, Georges Delerue
It's so stirring.''The mandate, as well as the benefit, of responsibility is the ability to tell when one can afford to be irresponsible.'' - Me -
- CommentAuthorAnthony
- CommentTimeNov 27th 2008
MI3 | Giacchino
This doubles in it's kick-ass factor when you put the bass too high!
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- CommentAuthorDemetris
- CommentTimeNov 27th 2008
franz_conrad wrote
NP: Red Cliff (Taro Iwashiro)
A colleague is playing it on her computer at work... I must say, it's sounding pretty boring and familiar. Nothing we haven't heard before.
What i said too. Yawn factor max.Love Maintitles. It's full of Wanders.