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[Closed] Now Playing XLIV

General Discussions » Now Playing XLIV (Posts 511 to 540 of 2996)

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  1. Erik Woods wrote
    Thor wrote
    Hmmm....I never considered "Ode to Joy" as a sort of Gruber theme in the first film. More like a gimmick and an ironical comment on what happens onscreen (which is very violent, if memory serves). Much like A CLOCKWORK ORANGE.


    Ode to Joy is hinted at right off the bat when the "terrorists" arrive at Nakatomi. It's even being performed by the string quartet at the party!. It plays during the course of the score mostly in the low strings giving the piece a more suspenseful tone. Hans even "whistles" it during his chat with Takagi. And it plays out in glorious fashion when Gruber and his team break the final lock to open up the vault. Ode To Joy is Gruber's theme.

    It should be no where near Die Hard 2, 4 or 5. Funny thing is that I don't even think it was featured in 3, where it would have been appropriate.

    -Erik-


    oh, Ode to Joy is in Die Hard with a Vengeance, however only subtle (for instance on 0.10 in Bank Elevator). I picked up more but I can't remember them now
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
    •  
      CommentAuthorCristian
    • CommentTimeFeb 12th 2013 edited
    Demetris wrote
    Next onto this JNH day:

    WAR HORSE

    Lovely. Really like JNH in this mode (apart from the mickey mousing)


    Waterhorse

    smile
    http://cristianlee.1x.com/
    •  
      CommentAuthorDemetris
    • CommentTimeFeb 12th 2013
    You're right, damn my horses!
    Love Maintitles. It's full of Wanders.
    • CommentAuthorAnthony
    • CommentTimeFeb 12th 2013
    It's fine, they're turning up in everything these days.
    • CommentAuthorTimmer
    • CommentTimeFeb 12th 2013
    Anthony wrote
    It's fine, they're turning up in everything these days.


    biggrin applause
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorMiya
    • CommentTimeFeb 12th 2013
    NP: How To Train Your Dragon - John Powell

    To keep my revived mood for film scores...
    Labels are for cans, not people. - Anthony Rapp
    •  
      CommentAuthorThor
    • CommentTimeFeb 12th 2013
    Erik Woods wrote
    Thor wrote
    I still think it's more of a CLOCKWORK ORANGE thing than a purely narrative tool.


    While McTeirnan liked the use of Beethoven's 9th in A CLOCKWORK ORANGE, McTeirnan insisted that Kamen use the 9th as the THEME for Gruber and his gang. FACT!

    Thor wrote
    More a commentary than a leitmotif, if you will.


    No, that would be incorrect. It is used as a leitmotif.


    We'll have to agree to disagree in our interpretations of that one. But you have at least given me a good reason to rewatch the film again.
    I am extremely serious.
    •  
      CommentAuthorThor
    • CommentTimeFeb 12th 2013
    NP: POCAHONTAS (Alan Menken)

    Great score from when Menken was at the top of his game!
    I am extremely serious.
    • CommentAuthorTimmer
    • CommentTimeFeb 12th 2013
    NP : FILM MUSIC WAS BETTER IN MY DAY - Alfred Newman



    aka THE ROBE cool
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  10. Today I’ d like to draw everybody’s attention to the score of a German film that is in cinemas currently: “Jesus liebt mich / Jesus Loves Me” by Swiss composer Marcel Barsotti. Barsotti was noticed internationally when he scored “Die Päpstin / Pope Joan” a few years ago.

    “Jesus liebt mich” is the story about Jesus’s Second Coming. God is fed up with humankind and has scheduled Armageddon for nest Tuesday. Jet Jesus falls in love with a girl and the end of all things gets postponed. That story is as cheesy as it sounds. Still, it’s a decent comedy and the film (as well as the novel) works out fine.

    Now the score has two very different aspects: the religious and the comical one. The religious music is performed with full orchestra (Slovak National Symphony) and Choir. It’s in the vein of Woyciech Kilar and Howard Shore and is just sweeping and grand.

    The comedic music reminds me of Randy Edelman (While You Were Sleeping).
    Both sides of the score go together surprisingly well. The score is melodic, highly thematic, a real fun ride.

    I hope Barsotti will get more high profile projects in the future. He is a very fine composer.

    Cheers!
    Volker


    http://www.amazon.de/Jesus-liebt-mich-O … amp;sr=1-1
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorErik Woods
    • CommentTimeFeb 12th 2013
    Thor wrote
    Erik Woods wrote
    Thor wrote
    I still think it's more of a CLOCKWORK ORANGE thing than a purely narrative tool.


    While McTeirnan liked the use of Beethoven's 9th in A CLOCKWORK ORANGE, McTeirnan insisted that Kamen use the 9th as the THEME for Gruber and his gang. FACT!

    Thor wrote
    More a commentary than a leitmotif, if you will.


    No, that would be incorrect. It is used as a leitmotif.


    We'll have to agree to disagree in our interpretations of that one. But you have at least given me a good reason to rewatch the film again.


    But here's the difference, Thor, I'm stating facts, which can be found in the liner notes of both Die Hard albums and in various interviews with McTeirnan and Kamen.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorSteven
    • CommentTimeFeb 12th 2013
    It's a shame you have no interest in the religion thread, I think you'd be quite good in it. wink
    •  
      CommentAuthorlp
    • CommentTimeFeb 12th 2013 edited
    Anthony wrote
    I see. I always thought that was the terrorist theme and that McClane's was this:

    (I don't know Kamen's scores at all well so here's an example from Die Hard 4.)

    http://www.youtube.com/watch?v=rdE02rXFEM0 at :43.

    Or am I wrong and did Beltrami write that?

    On another note, All Aboard is a kick-ass cue.


    Check out the Die Hard with a Vengeance score. It's basically the most thematic Die Hard score. The six notes McClane theme (not motif, IMHO) is used liberally throughout.
    •  
      CommentAuthorThor
    • CommentTimeFeb 12th 2013
    Erik Woods wrote
    Thor wrote
    Erik Woods wrote
    Thor wrote
    I still think it's more of a CLOCKWORK ORANGE thing than a purely narrative tool.


    While McTeirnan liked the use of Beethoven's 9th in A CLOCKWORK ORANGE, McTeirnan insisted that Kamen use the 9th as the THEME for Gruber and his gang. FACT!

    Thor wrote
    More a commentary than a leitmotif, if you will.


    No, that would be incorrect. It is used as a leitmotif.


    We'll have to agree to disagree in our interpretations of that one. But you have at least given me a good reason to rewatch the film again.


    But here's the difference, Thor, I'm stating facts, which can be found in the liner notes of both Die Hard albums and in various interviews with McTeirnan and Kamen.

    -Erik-


    There are no facts in aesthetic interpretation.
    I am extremely serious.
    •  
      CommentAuthorErik Woods
    • CommentTimeFeb 12th 2013 edited
    You are dense sometimes, Thor. The film makers and composers say they did it this way but Thor's like "Fuck you guys, I know better, here's what I think." Then the film makers are like "Yeah, but you're wrong. Ode to Joy is the theme for Gruber and his gang." Thor's like "No, it's not. This might not be my film but I know better than you do." Then the filmmakers do this face-palm-mt

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorThor
    • CommentTimeFeb 12th 2013 edited
    Why, thank you. I try to work out.

    If films and literature and any other art were only allowed to be interpreted exactly the way the creators intended them, art criticism would be a boring enterprise indeed. I think even the creators themselves would agree to that.
    I am extremely serious.
    •  
      CommentAuthorErik Woods
    • CommentTimeFeb 12th 2013
    So The Imperial March is Williams' love theme for Vader and the Emperor, right?

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorScribe
    • CommentTimeFeb 12th 2013
    No, actually thats the Imperial Theme from Star Wars. tongue
    I love you all. Never change. Well, unless you want to!
    •  
      CommentAuthorThor
    • CommentTimeFeb 12th 2013 edited
    Erik Woods wrote
    So The Imperial March is Williams' love theme for Vader and the Emperor, right?

    -Erik-


    Love theme is stretching it a bit far, I guess, unless there are some homo-erotic undertones I've missed. But I definitely think it's possible to interpret it as something more than just Vader's theme. Maybe also a theme for their master-pupil relationship and their connection to the Empire as a whole.

    Just as "Luke's theme" (if you could call it that) is expanded to be that of the Force and people's connections to it.

    Leitmotifs, when done well, are not only static calling cards. They are dynamic figures that can change and expand meaning throughout a narrative, just as Wagner intended.

    In the case of DIE HARD -- and regardless of what the filmmaker may have said -- I interpret the use of "Ode to Joy" not as a typical leitmotif per se, but more as a commentary. Or -- if you stretch it a bit -- a leitmotif for a CONCEPT.
    I am extremely serious.
    •  
      CommentAuthorErik Woods
    • CommentTimeFeb 12th 2013
    face-palm-mt
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  21. Captain Future wrote
    Today I’ d like to draw everybody’s attention to the score of a German film that is in cinemas currently: “Jesus liebt mich / Jesus Loves Me” by Swiss composer Marcel Barsotti. Barsotti was noticed internationally when he scored “Die Päpstin / Pope Joan” a few years ago.

    “Jesus liebt mich” is the story about Jesus’s Second Coming. God is fed up with humankind and has scheduled Armageddon for nest Tuesday. Jet Jesus falls in love with a girl and the end of all things gets postponed. That story is as cheesy as it sounds. Still, it’s a decent comedy and the film (as well as the novel) works out fine.

    Now the score has two very different aspects: the religious and the comical one. The religious music is performed with full orchestra (Slovak National Symphony) and Choir. It’s in the vein of Woyciech Kilar and Howard Shore and is just sweeping and grand.

    The comedic music reminds me of Randy Edelman (While You Were Sleeping).
    Both sides of the score go together surprisingly well. The score is melodic, highly thematic, a real fun ride.

    I hope Barsotti will get more high profile projects in the future. He is a very fine composer.

    Cheers!
    Volker


    http://www.amazon.de/Jesus-liebt-mich-O … amp;sr=1-1

    I would echo Volker's comments on this score.

    I've had this one for a while and I really enjoy the more dramatic aspects of the score. Not so keen on the comedic aspect of the score - but that is down to my own feelings on comedy scores.
    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
    •  
      CommentAuthorThor
    • CommentTimeFeb 12th 2013
    Erik Woods wrote
    face-palm-mt


    He, he...mind your head there, Erik!
    I am extremely serious.
    •  
      CommentAuthorThor
    • CommentTimeFeb 12th 2013
    NP: HERCULES (Alan Menken)

    Not too keen on the gospel stuff (although that can be fun sometimes), but the score proper is excellent and thematically rich, as always.
    I am extremely serious.
  24. Southall wrote
    The Iron Giant - Michael Kamen

    I've always loved this, which was hated by most when it first appeared (my words of praise on filmus-l were greeted with a chorus of people saying how awful it is). I think it was the first time Kamen recorded without a click track (very rare for a Hollywood composer - James Horner's the only other one I know who regularly does it) and I think part of its beautifully organic feel comes from that. Love the cavernous sound it has, too. Above all, just wonderful, magical music. I wonder if anyone else actually likes it.


    Me. And that final cue, especially when combined with the closing scene, is fantastic and moving.
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
    • CommentAuthorTimmer
    • CommentTimeFeb 12th 2013
    NP : DEMOLITION MAN - Elliot Goldenthal



    Nowhere near his best but it's still darn fine music and as a short album it doesn't outwelcome it's stay.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorlp
    • CommentTimeFeb 12th 2013 edited
    NP: A Good Day to Die Hard - Marco Beltrami

    I don't love this score. I really enjoyed it. I don't love it. I like it. I appreciate it for the fact that, for the majority of the running time, it's very orchestral. And, fact is, you don't get a lot of action score with such emphasis on the orchestra anymore, and the Die Hard franchise is still rooted in this heavily orchestral base for McClane's (mis)adventure. That said, AGDTDH has more electronic than all previous Die Hard scores, and even includes some modern, Tron: Legacy style pulsations. More flavor for the dish, I'd say, positively speaking. There are some really excellent tracks throughout the running time, with lots of fun symphonic flourishes here and there. It's definitely a Beltrami action score, but feels more evolved. "Truckzilla (Act 1)" is a ground-busting piece. The McClane theme does get used many times, but not featured prominently like I would like. And that's part of the reason why I don't love it.
    The score suffer from the same problem as other modern action scores, lack of cohesion. Outside of the aforementioned McClane theme, there's not much else, melodically speaking, to grab onto. The action cues are head bashing good, but leave you empty after the deed. Marco Beltrami is excellent at creating really good cues around little motifs here and there, but with only mood and attitude to go by, the end product feels a bit anonymous to me. The fact that Ode to Joy was referenced at the beginning of the album, and went AWOL afterward, leave a big gaping hole throughout the running time. I think that, given the prior Kamen scores, something more Russian-sourced could have been used and referenced throughout, like Tchaikovsky's 1812 Overture, maybe.

    All in all. Good score that could have been better, if not great, with more connective materials. Marco Beltrami certainly know how to writing action, and that's not news.
    •  
      CommentAuthorlp
    • CommentTimeFeb 12th 2013 edited
    lp wrote
    NP: A Good Day to Die Hard - Marco Beltrami

    I don't love this score. I really enjoyed it. I don't love it. I like it.
    ...

    All in all. Good score that could have been better, if not great, with more connective materials. Marco Beltrami certainly know how to writing action, and that's not news.
    '

    PS. There's an 2 note melody that's first heard in "Scumbags" and recurs in "Entering Chernobyl", "Into the Vault" and "Rubbed Out At The Spa". It sounds exactly like a result of the temp influence from The Dark Knight score. It sounds great though since there seems to be a sort of emotional/dramatic push being presented in the storyline. It's short lived though and could have been utilized since the beginning. But enough of this armchair business.
    •  
      CommentAuthorThor
    • CommentTimeFeb 12th 2013
    Timmer wrote
    NP : DEMOLITION MAN - Elliot Goldenthal



    Nowhere near his best but it's still darn fine music and as a short album it doesn't outwelcome it's stay.


    It's a really entertaining album. When the German journalist asked Goldenthal if he had ever done any comedies (film comedies) in that 2010 interview we did, and he said no, I mentioned "DEMOLTION MAN" somewhat jokingly and he had to agree with that. It's probably the closest he's ever been to a film comedy.
    I am extremely serious.
    •  
      CommentAuthorSouthall
    • CommentTimeFeb 12th 2013
    The A-Team - Silvestri

    Most of it's a bit shite but Christ on a bike, "Flying a Tank" is one hell of an action piece.
    http://www.movie-wave.net | http://facebook.com/moviewave
    • CommentAuthorTimmer
    • CommentTimeFeb 12th 2013 edited
    To Thor's post:-

    The film is silly though enjoyable nonsense and I quite like the way Wesley Snipes meets his demise.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt

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