register

  • Categories

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

 

Hans Zimmer - The Thin Red Line

General Discussions » Hans Zimmer - The Thin Red Line (Posts 31 to 56 of 56)

  1. <
  2. 1
  3. 2
  4. >
    • CommentAuthorJoep
    • CommentTimeOct 29th 2009
    Bregt wroteJoep too. I think he once had a whole page of info on that score. Not sure where he left it, since Geocities is gone.)


    Indeed. But I made a backup a few days ago. And it shocked me seeing that I never got to finish the website. I wrote about 70 pages on the score, of which maybe 15 were published. I may re-introduce some of my geocities websites, such as the hugely popular Matrix score website and this one. We'll see.

    Here's the transcript of what Zimmer had to say on the vhs collector's edition:

    '''There's a reason Terry hadn't done a movie in a long time until he had found the right voice to do it.''

    '''A musician has a very good sense of rhythm and sometimes of the lines, the voice of a line, the narration should be like a song. Terry sees himself very much as my lyrist. When you don't have the mortar shells going off, I create this sort of sense of silence and in a peculiar way I've been trying to create normal silence or started something that you can just observe and maybe you get drawn in.''

    ''Because it takes place at the Solomon islands we caught a lot of Melanesian music. We have these wonderful choirs and we're using some of that because there's a purity about it. And the score really uses this idea of fate. There's this ray of light coming through the clouds. This sort of divine sense, which is the antithesis to seeing people shooting at each other.''
  2. Joep wrote
    Bregt wroteJoep too. I think he once had a whole page of info on that score. Not sure where he left it, since Geocities is gone.)


    Indeed. But I made a backup a few days ago. And it shocked me seeing that I never got to finish the website. I wrote about 70 pages on the score, of which maybe 15 were published. I may re-introduce some of my geocities websites, such as the hugely popular Matrix score website and this one. We'll see.

    Here's the transcript of what Zimmer had to say on the vhs collector's edition:

    '''There's a reason Terry hadn't done a movie in a long time until he had found the right voice to do it.''

    '''A musician has a very good sense of rhythm and sometimes of the lines, the voice of a line, the narration should be like a song. Terry sees himself very much as my lyrist. When you don't have the mortar shells going off, I create this sort of sense of silence and in a peculiar way I've been trying to create normal silence or started something that you can just observe and maybe you get drawn in.''

    ''Because it takes place at the Solomon islands we caught a lot of Melanesian music. We have these wonderful choirs and we're using some of that because there's a purity about it. And the score really uses this idea of fate. There's this ray of light coming through the clouds. This sort of divine sense, which is the antithesis to seeing people shooting at each other.''


    I sent you a pm . . .
    •  
      CommentAuthorDemetris
    • CommentTimeOct 29th 2009
    Thor wrote
    It's hard for me to swallow since I've always taken Goldenthal for a beacon of pure originality, but I DO think he was either inspired by or worked off a temp track of "Journey to the Line" for his track "JD Dies" in PUBLIC ENEMIES. But we've perhaps talked about this before.


    It's clearly inspired by that piece, at times plagiarizing it directly. I think the whole hanging up with Tyler Bates for the court case might have influenced him negatively wink
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorDemetris
    • CommentTimeOct 29th 2009
    Are you sure what TTRL-inspired music we hear in Public Enemies is actually TTRL? 'Cause on the score and songs' cd that got released, there's some Goldenthal material that too sounds like TTRL.
    Love Maintitles. It's full of Wanders.
  5. Christodoulides wrote
    Thor wrote
    It's hard for me to swallow since I've always taken Goldenthal for a beacon of pure originality, but I DO think he was either inspired by or worked off a temp track of "Journey to the Line" for his track "JD Dies" in PUBLIC ENEMIES. But we've perhaps talked about this before.


    It's clearly inspired by that piece, at times plagiarizing it directly. I think the whole hanging up with Tyler Bates for the court case might have influenced him negatively wink


    Bates (and his masters on 300) broke the golden rule of reprising the original melody from the piece he was copying. Once you've done that, it's very hard to escape a law suit. Goldenthal's piece at the end of PUBLIC ENEMIES uses 'Journey the Line' as a template, but the melodies that thread through have been developed by him over the course of the whole score to that point.

    (To say nothing of the fact that it's the most brilliant bit of scoring I've seen in a film this year, based on how it works in the scene. wink )
    A butterfly thinks therefore I am
    •  
      CommentAuthorDemetris
    • CommentTimeOct 29th 2009
    franz_conrad wrote
    Christodoulides wrote
    Thor wrote
    It's hard for me to swallow since I've always taken Goldenthal for a beacon of pure originality, but I DO think he was either inspired by or worked off a temp track of "Journey to the Line" for his track "JD Dies" in PUBLIC ENEMIES. But we've perhaps talked about this before.


    It's clearly inspired by that piece, at times plagiarizing it directly. I think the whole hanging up with Tyler Bates for the court case might have influenced him negatively wink


    Bates (and his masters on 300) broke the golden rule of reprising the original melody from the piece he was copying. Once you've done that, it's very hard to escape a law suit. Goldenthal's piece at the end of PUBLIC ENEMIES uses 'Journey the Line' as a template, but the melodies that thread through have been developed by him over the course of the whole score to that point.

    (To say nothing of the fact that it's the most brilliant bit of scoring I've seen in a film this year, based on how it works in the scene. wink )


    Agree with you on the later. To me, it's the best movie of the year so far, and the score is up there too.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorBobdH
    • CommentTimeOct 29th 2009
    Which also pleads in Goldenthal's favor, is that Zimner and TTRL are actually credited in the end credits.
  8. BobdH wrote
    Which also pleads in Goldenthal's favor, is that Zimner and TTRL are actually credited in the end credits.


    he couldn't neglect what Bates and the producers of didn't do on the 300 movie, if not he would have embarrassed himself
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
    •  
      CommentAuthorDemetris
    • CommentTimeOct 29th 2009
    what?
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorBobdH
    • CommentTimeOct 29th 2009
    To get back to TTRL, I read Zimmer keeps telling people his score for the film is so much more - and so different - than what you hear in the film. He thinks its his best score, just not the version as we know it. Which really makes me hope we someday will hear more from it.
    •  
      CommentAuthorSouthall
    • CommentTimeOct 29th 2009
    BobdH wrote
    Which also pleads in Goldenthal's favor, is that Zimner and TTRL are actually credited in the end credits.


    Which presumably means that Zimmer was paid for his work, a luxury not afforded Goldenthal on 300 (until the lawsuit!)
    http://www.movie-wave.net | http://facebook.com/moviewave
  12. Christodoulides wrote
    what?


    Bates and the producers forget to mention the influence of Goldenthal's Titus at the end credits of the movie 300, I think Goldenthal couldn't neglect to mention his influence of The Thin Red Line then in the end credits of Public Enemies, if not he would be attacking someone whilst doing the same thing
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
    •  
      CommentAuthorDemetris
    • CommentTimeOct 29th 2009
    Mate, Bates copied it note by note. It's not an influence, it's a theft, hence the lawsuit. Let's be serious.
    Love Maintitles. It's full of Wanders.
  14. Christodoulides wrote
    Mate, Bates copied it note by note. It's not an influence, it's a theft, hence the lawsuit. Let's be serious.


    doesn't matter to me, Bates should have said it was influences (or copied) from that score, Goldenthal influenced it enough and he already stated it at the end credits

    meaning Goldenthal had to do it, because if not it would be cynical from him
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
  15. I think there's a slight difference here, in that Zimmer was credited for a cue which was actually used, rather than for 'Journey to the Line'?

    (Mind you, if there was an acknowledgement of 'Journey to the Line' in the end credits, then this is a rare thing indeed - the end credits acknowledging temp track influence. This has happened once or twice before - e.g. the credit of Jerry Goldsmith's PATTON in INSIDE MAN - but is not common at all.)

    Interestingly enough, there's also a quote of Goldenthal's own HEAT ('Predator Diorama') quite early in PUBLIC ENEMIES, during the first on-screen bank robbery. This is also credited to Goldenthal.
    A butterfly thinks therefore I am
    •  
      CommentAuthorBobdH
    • CommentTimeOct 29th 2009
    True, yet Zimmer is also credited in the general 'thank you's', outside of the track credits. I'd day he gets enough credit. Goldenthal's Heat was also used in Collateral, by the way. Mann sure likes it.
  17. He also lifted Powell/Lupica's "Beam" from TTRL.
  18. That did get pointed out more than once above. wink And it is referenced in the films credits as a direct use of the piece, not a Goldenthal reworking of it.
    A butterfly thinks therefore I am
  19. no, I didnt say he lifted it.
  20. paulmaherjr wrote
    ...and he incorporated a piece of "Beam" into the beginning of Public Enemies as well as thanks Hans Zimmer in the credits (either he or Michael Mann).


    franz_conrad wrote
    ... 'Beam' wasn't adapted for PUBLIC ENEMIES. The cue actually IS used for PUBLIC ENEMIES. It's the recording from THE THIN RED LINE sessions.


    In the words of the great prison warden of the south, what we have here is a failure to communicate. wink
    A butterfly thinks therefore I am
    • CommentAuthorTimmer
    • CommentTimeOct 30th 2009
    applause
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  22. I have the full 16-minute "Sit Back and Relax" for anyone that is interested. It isn't the highest quality, but you will certainly appreciate the music the way Terrence Malick did when he first heard it in 1977.

    email me @ paul_maherjr@yahoo.com
  23. "PROPHECY OF THE SERBIAN VILLAGE KREMNA"

    audio stream of this track

    http://www.kunstradio.at/2000A/09_01_00.html
  24. Does anybody know what the source is for the chant at the beginning of this Thin Red Line trailer?

    http://www.foxmovies.com/thinredline/ht … er_qt.html

    It isnt on the Melanesian chant CD that came out . . .
  25. My article about The Thin Red Line

    Special thanks to my co-reviewers and friends on filmmusic.pl for letting me posting this here and to Bregt for accepting the translation.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorMarselus
    • CommentTimeJan 21st 2010
    PawelStroinski wrote
    My article about The Thin Red Line

    Special thanks to my co-reviewers and friends on filmmusic.pl for letting me posting this here and to Bregt for accepting the translation.

    IMPRESSIVE article Pawel. I´ve read it carefully and I have to say it is an extremely fine report. Congratulations!
    Anything with an orchestra or with a choir....at some point will reach you

31 to 56 of 56

  1. <
  2. 1
  3. 2
  4. >