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MARC STREITENFELD

General Discussions » MARC STREITENFELD (Posts 271 to 300 of 399)

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  1. Most of the messiest stories regarding Hans Zimmer, ghostwriting and all that are related to Jerry Bruckheimer productions. Since 1996 - no matter who scored the movies, though Trevor Rabin and his team are usually left intact, really.

    Oh, and a lot of Mark Mancina's team (Don Harper, Gordon Goodwin) is now working for Rabin, which is an interesting situation, because first, there is a Yes connection (Rabin famously played guitar there and Mancina was the keyboardist roughly at the same time) and the fact that Rabin used to work with Mancina for his first big score (Con Air - Mancina had to leave after laying out the themes due to a scheduling conflict and left Rabin to deal with them "on his own" - Rabin of course having his own team of collaborators) and that Rabin performed the guitar solos on Twister.

    The sad state of things is that Mancina is hardly getting work recently (except 2007's Shooter, two projects were given to him by Zimmer - Blood+ and August Rush, and he suddenly surfaced as an additional music composer on the completely messy and still fully not explained Modern Warfare 2 project), which is also proven by the fact that his most recent main assistant surfaced as a co-orchestrator for Alan Silvestri, of all people.
    http://www.filmmusic.pl - Polish Film Music Review Website
  2. So THAT'S what happened to Silvestri. Ah-ha. He's now in the area where J.N.H. has been for a few years now.

    Mancina got just over half a dozen projects, but they kept being pushed back either in production or release by years (since 2009 when those projects started coming in, according to his site Filmorgraphy over the years), and he got replaced on two films during that time ("Flypaper" and "Like Dandilion Dust" -- no idea if he did anything on them; not really investigated either).
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
    •  
      CommentAuthorSouthall
    • CommentTimeApr 8th 2012
    PawelStroinski wrote
    Sadly, Ramin Djawadi keeps actively doing scores after Hans had to pull off the same trick when Djawadi's Iron Man score was on the verge of rejection and Hans and a team of four other composers went in to save the project. If anyone likes the first track from the Iron Man score... That's Hans.


    Thanks for the story, Pawel. I think I've read much of it before (probably written by you - and probably at this forum!) but didn't know this last bit. Though... is there anyone who likes the first (or any other) track from the Iron Man score? wink
    http://www.movie-wave.net | http://facebook.com/moviewave
  4. Yes. Me.

    And that's the only one I did, even if actually a third of the score (and the album!) was rearranged by him.
    http://www.filmmusic.pl - Polish Film Music Review Website
    • CommentAuthorTimmer
    • CommentTimeApr 9th 2012
    I liked IRON MAN and the score seemed to fit ( I've only seen it the once ) but it was very forgettable.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorDemetris
    • CommentTimeApr 9th 2012
    The Iron Man score's opening cue was Hans' ? That's not good to hear..
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorDemetris
    • CommentTimeApr 9th 2012
    It's a shame about Nick Glennie Smith 'cause his WE WERE SOLDIERS score was excellent.
    Love Maintitles. It's full of Wanders.
  8. Demetris wrote
    The Iron Man score's opening cue was Hans' ? That's not good to hear..


    Not the opening cue of the film, but of the album.
    http://www.filmmusic.pl - Polish Film Music Review Website
  9. PawelStroinski wrote
    Not the opening cue of the film, but of the album.

    Maybe you could post a youtube link?
    Recognizing somebody else's strength doesn't diminish your own (Joss Whedon)
    •  
      CommentAuthorlp
    • CommentTimeApr 9th 2012
    PawelStroinski wrote
    Probably based on his additional work on Bad Boys a year earlier (and maybe with a recommendation from the Z man himself, that I don't know) the man hired first to write the score to The Rock was Nick Glennie-Smith. He took Harry Gregson-Williams as his main additional man. Glennie-Smith turned his demos in.

    It turned out that Bay loved the arrangement, but hated the themes. On the verge of rejection or maybe due to Simpson (provided he was still alive at that point, the man overdosed on drugs early enough for the movie to be dedicated to him) and Bruckheimer begging him for help, Hans Zimmer was brought in to help out on it. Hans caved in and due to hyperfast schedule, he took a few composers not really famous for working for Media Ventures at the time (like Russ Landau) or other collaborators from the studio, not really known from his own scores (Don Harper was a Mark Mancina assistant at the time; he would also help out on Broken Arrow later or earlier, I only know the recording session dates for Broken Arrow).

    Zimmer added one main theme (the beginning of the first cue is Zimmer on his own) and one/two secondary themes, rescored a few scenes in the movie. The score album features James Newton Howard in thank yous, the official at least version (as told by JNH's assistant Stu Thomas) is that Zimmer basically phoned him and asked if he can rip him off for a cue (that cue would be the one where the choppers start and the SEALs and our characters enter the Rock itself), to which Howard agree, the unofficial version would go that JNH actually ghostwrote the cue (officially credited to Hans) for the movie. We'll never know what happened, but Hans and JNH have been friends since Hans borrowed and helped program synthesizer sounds for Waterworld, when it was Howard who asked for help (a friend of mine has a theory that Hans actually ghostwrote the theme playing in Deacon's Speech, but while nice, it's not something I would seriously believe until given some more proof than a stylistical similarity to an anthem).

    Harry Gregson-Williams kept doing the additional music for the movie and some of his cues are retained on the album (namely Rocket Away is a big cue by him). After the movie was done Hans asked for his name to be taken from the film credits (as he would point out later "it was always Nick's score"), but Bruckheimer refused to comply, so the FILM credits state Music Composed by Nick Glennie-Smith and Hans Zimmer.

    Glennie-Smith compiled the album and to the composer's shock added Harry Gregson-Williams (who has the prominent, and actually single, additional music credit in the movie) to the main credits (Music Composed and Arranged by Nick-Glennie-Smith, Hans Zimmer and Harry Gregson-Williams).

    Now to my theory. Nick Glennie-Smith hasn't composed much since working on The Rock. Basically he built a pretty steady relationship with Randall Wallace (more famous - or in the latter case rather INfamous - for his Braveheart and Pearl Harbor scripts), for whom he scored all his directorial outputs. Glennie-Smith right now is happy conducting the RCP scores and doing some "ace-in-the-sleeves" additional music help mostly for Hans. They have been friends since late 70s.

    I think the reason for it was that the work on The Rock was a traumatic experience for the composer, which is a pity.

    Sadly, Ramin Djawadi keeps actively doing scores after Hans had to pull off the same trick when Djawadi's Iron Man score was on the verge of rejection and Hans and a team of four other composers went in to save the project. If anyone likes the first track from the Iron Man score... That's Hans.


    Thanks for the elaboration. Turns out I knew only half the story.
    •  
      CommentAuthorBobdH
    • CommentTimeApr 29th 2012
    The Prometheus soundtrack will be released june 5th courtesy of Sony Music. Cover art has been revealed as well:

    http://www.amazon.com/Prometheus-Origin … amp;sr=8-1

    Quite nice.
  12. BobdH wrote
    The Prometheus soundtrack will be released june 5th courtesy of Sony Music. Cover art has been revealed as well:

    http://www.amazon.com/Prometheus-Origin … amp;sr=8-1

    Quite nice.


    I'm confused, I thought Harry Gregson-Williams took over?
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
    • CommentAuthorLars
    • CommentTimeApr 29th 2012
    harry is writing additional music for the film.
    •  
      CommentAuthorBobdH
    • CommentTimeApr 29th 2012
    Yep, he's listed for 'additional music'.
  15. oh, I see
    thanks
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
    • CommentAuthorLars
    • CommentTimeApr 29th 2012 edited
    harry wrote this on his facebook page as a reply to someone

    "Prometheus score is by someone else so I can't control that at all. Sorry! However, my contribution is in the shape of a theme, a theme for 'creation' - first heard at the opening of the film, also at the end, and a few times within the body of the movie. It's in a major key and is kind of optimistic and also a little mystical. I hope you like it!
    Harry"
  17. Thomas Glorieux wrote
    BobdH wrote
    The Prometheus soundtrack will be released june 5th courtesy of Sony Music. Cover art has been revealed as well:

    http://www.amazon.com/Prometheus-Origin … amp;sr=8-1

    Quite nice.


    I'm confused, I thought Harry Gregson-Williams took over?


    No, no -- this will be one of those rare times when some of us wish the score would be replaced last minute by somebody else, but it won't happen.
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
    •  
      CommentAuthorErik Woods
    • CommentTimeApr 29th 2012 edited
    justin boggan wrote
    No, no -- this will be one of those rare times when some of us wish the score would be replaced last minute by somebody else, but it won't happen.


    Why? Have you heard the score? Have you seen the film? Do you have any idea what you are talking about?

    Streitenfeld did an excellent job on The Grey. If he can use that music language in The Alien prequel and expand on it I think we could get a score that will surprise a lot of film music fans... at least I hope so.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    • CommentAuthorTimmer
    • CommentTimeApr 30th 2012
    Agree with Erik, open mind and open ears I say.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorlp
    • CommentTimeApr 30th 2012
    Lars wrote
    harry wrote this on his facebook page as a reply to someone

    "Prometheus score is by someone else so I can't control that at all. Sorry! However, my contribution is in the shape of a theme, a theme for 'creation' - first heard at the opening of the film, also at the end, and a few times within the body of the movie. It's in a major key and is kind of optimistic and also a little mystical. I hope you like it!
    Harry"


    Interesting find. Thanks for the post.
    •  
      CommentAuthorBobdH
    • CommentTimeMay 11th 2012 edited
    Amazon now has the track list up for PROMETHEUS.

    1. A Planet
    2. Going In
    3. Engineers
    4. Life*
    5. Weyland
    6. Discovery
    7. Not Human
    8. Too Close
    9. Try Harder
    10. David
    11. Hammerpede
    12. We were right
    13. Earth
    14. Infected
    15. Hyper Sleep
    16. Small Beginnings
    17. Hello Mommy
    18. Friend From The Past
    19. Dazed
    20. Space Jockey
    21. Collision
    22. Debris
    23. Planting the Seed
    24. Invitation
    25. Birth

    Okay, so what does the * mean? Does it denote the use of one of Goldsmith's original ALIEN themes? In that case... why wouldn't it also feature towards the end? Or does it say that one track features music from Harry Gregson Williams? In that case he didn't quite do a lot. Actually, I think it'll be that last option, since he already mentioned he only composed a single theme.
    •  
      CommentAuthorThor
    • CommentTimeMay 11th 2012
    Yeah, I think it's the last option. He already said he composed a theme that has to do with the evolution of the whole thing, so calling it "Life" makes sense.

    Otherwise, I skipped your track titles as I don't want to have too many spoilers.
    I am extremely serious.
    • CommentAuthorTimmer
    • CommentTimeMay 11th 2012
    yeah
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorLars
    • CommentTimeMay 12th 2012
    harry posted also this on facebook

    "A theme for the beginning and end. Plus some cues in between. I was asked clearly to score specific scenes that perhaps Marc S hadn't fizzed on or had struggled with, for whatever reason.

    This is Ridley, bear in mind.

    I got little time, some guidance and much encouragement and support from Ridley and Fox studios. It was a late in the day but a limited assignment with particular scenes targeted and little time for indecisive or anxious reactions albeit coming down in an unconventional time frame and route too.
    I'm happy with how I contributed nonetheless.and somehow enjoyed the process well aware of having had stepped in difficult Alien shoes before me that I had to be filled.

    Harry"
    •  
      CommentAuthorBobdH
    • CommentTimeMay 16th 2012 edited
    Ok, for those curious for the PROMETHEUS score and want a taster of what Streitenfeld came up with, the score is now available for download on iTunes and thus you can hear quite lengthy (mostly a minute and a half each) clips of each track as well.

    Currently listening, and... this is quite interesting stuff! Rather orchestral at times, with a few interesting moments of synth (especially towards the end!) and remarkable flourishes of choir. Streitenfeld seems to reference Goldenthal in the more chaotic terror-tracks, while also referencing Goldsmith several times. Many hommages have been spotted on boards elsewhere, people noting it touches upon every score from the Alien franchise, so I'm interested to see a break-down of it sometime soon.

    Anyhow, Streitenfeld didn't deliver brainless droning, that's for certain so far. Exactly how good it is, only time will tell when I get to hear it all.
    •  
      CommentAuthorThor
    • CommentTimeMay 30th 2012
    Just saw PROMETHEUS. Holy crap, what a great film!

    Review to follow.
    I am extremely serious.
  27. Thor wrote
    Just saw PROMETHEUS. Holy crap, what a great film!

    Review to follow.

    Good news!
    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
  28. Thor wrote
    Just saw PROMETHEUS. Holy crap, what a great film!

    Review to follow.


    my brother will love this no doubt
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
    •  
      CommentAuthorDreamTheater
    • CommentTimeMay 30th 2012 edited
    Thor wrote
    Just saw PROMETHEUS. Holy crap, what a great film!

    Review to follow.


    You had me at great. cheesy

    Going to watch this soon.

    But post your review in 'Recent viewing'.
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
  30. DreamTheater wrote
    Thor wrote
    Just saw PROMETHEUS. Holy crap, what a great film!

    Review to follow.


    You had me at great. cheesy

    Going to watch this soon.

    But post your review in 'Recent viewing'.


    I'll see it on blu-ray once, now Snow White I'm gonna check out instead wink
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh

271 to 300 of 399

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