• Categories

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

 
  1. Martijn wrote
    I am with the captain: it's one of Tyler's finest works, and the one that put him squarely on my radar.
    I've aleays been hoping he'd do something equally dramatic and epic in future.


    This.
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorSteven
    • CommentTimeJun 27th 2013
    But it has those four chords (which he still uses).
    •  
      CommentAuthorMartijn
    • CommentTimeJun 27th 2013
    I like chords.
    They hold things together with no strings attached.
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorErik Woods
    • CommentTimeJun 27th 2013
    But what if the strings are playing the chords?

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  2. Steven wrote
    But it has those four chords (which he still uses).


    They all have their danger-motif. wink
    Bach's music is vibrant and inspired.
  3. NP: Timeline - Brian Tyler

    All right, this is a fine score in its own rights. Does anyone know the Goldsmith score? I don't and cannot compare anything.
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorErik Woods
    • CommentTimeJun 27th 2013
    Captain Future wrote
    NP: Timeline - Brian Tyler

    All right, this is a fine score in its own rights. Does anyone know the Goldsmith score? I don't and cannot compare anything.


    Here is one of Jerry's greatest action cues from his rejected score to Timeline.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorThor
    • CommentTimeJun 27th 2013
    Captain Future wrote
    NP: Timeline - Brian Tyler

    All right, this is a fine score in its own rights. Does anyone know the Goldsmith score? I don't and cannot compare anything.


    It's OK, but quite perfunctory and autopilot-y.
    I am extremely serious.
    •  
      CommentAuthorSteven
    • CommentTimeJun 28th 2013
    Erik Woods wrote
    Captain Future wrote
    NP: Timeline - Brian Tyler

    All right, this is a fine score in its own rights. Does anyone know the Goldsmith score? I don't and cannot compare anything.


    Here is one of Jerry's greatest action cues from his rejected score to Timeline.

    -Erik-


    I really fucking love that score. love
    •  
      CommentAuthorBobdH
    • CommentTimeJun 28th 2013
    NP: Hans Zimmer - Man of Steel

    Very glad I bought the limited edition since I find myself listening more to the more suite-like tracks of the second disc that are better developed than the ones that got into the final score. Also, having seen the (flawed) film does add to the likability of the score.
    •  
      CommentAuthorStavroula
    • CommentTimeJun 28th 2013
    Game of Thrones Seasons 1,2 and 3 ~ Ramin Djawadi

    Enjoyable and interesting! Some very nice and quite original themes! I've been listening to them almost everyday for the last two weeks.
    Whatever you gaze rests on,do not use your vision, but the eyes of your soul...She knows better...
    •  
      CommentAuthorlp
    • CommentTimeJun 28th 2013
    NP: Olympus Has Fallen - Trevor Morris

    Having seen the film, I do admire/like the score much more. Like the movie, the score is very aggressive, lots of snarling brass and pounding percussion. I do wish that there was a more identifiable, melodic theme for Gerard Butler's character, since he has to carry much of the film's running time. There are thematic material sprinkled through out, but, it's a bit of a missed opportunity, IMHO. The two major action cues in the beginning of the score are EXCELLENT and, combined with most of the melodic materials, quite frankly, worth the purchase of the album.
    •  
      CommentAuthorlp
    • CommentTimeJun 28th 2013 edited

    Nice. We're seeing the movie today, and I really hope that the movie I've seen so far in my head (based on the score) will match up quite nicely with the real movie.


    NP: Man of Steel - Hans Zimmer

    So I finally saw it and I have to say that Hans really did a good job with scoring the movie. As Pawel noted, you hear the two different themes for Clark and Kal, clearly along with thematic motif for the Codex/DNA/Genetic story, which does bind itself to the thematic idea for Krypton. As a whole, the score is extremely thematic and at time, very beautifully humbled. As someone who's been listening to the score since it was released, my expectation for the score in the movie was still vastly beaten by how good it actually functioned. The actual second (successful) flight had some really nice swirling strings that wasn't in the score. The ONLY thing that really was a negative, is how synthetic some of the brass are. This is really one score that could have benefited from some Trevor Morris brass arrangements. The fake sounding brass are further made worse due to the bad sound quality from the theater, with its emphasis on overdriven trebs and bass and zero mids, really made all of the music and SFX work sound terrible. I'll have to wait until the the BluRay release to make my final call.

    Regardless, I was very surprised by the score as heard in the movie, because it was still much better in every way than I had imagined it to be. Extremely effective, very well done.
    •  
      CommentAuthorErik Woods
    • CommentTimeJun 28th 2013 edited
    Just watched Man of Steel. Most of it was vomit

    Things I did like though. Henry Cavill is a very good Superman but the screenplay really didn't give him much to do. He has the look but spent most of the film looking stone cold serious or beating up Zod for what seemed like an eternity. sleep

    Hans Zimmer wrote two good cues for the score. The violin solo for the destruction of Krypton and the final cue, which after 2 hours and 11 minutes finally captured the spirit of Superman. Those last 5 minutes were by far my favourite parts of the film.

    I'll never watch the film again... actually, I'm thinking of firing up the original tonight to get this bad taste out my mouth. As for the score... well, I'll add "What Are You Going to Do When You Are Not Saving the World?" to MY FAVOURITES playlist and the rest can just rot!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorScribe
    • CommentTimeJun 28th 2013
    The violin solo appears in "Krypton's Last", in case you wanted to know.
    I love you all. Never change. Well, unless you want to!
  4. My favourite cues in the movie were Goodbye, My Son, Krypton's Last (until the ostinato blared when the capsule was landing on Earth, it took me out of the film), Flight, If You Love These People and the last cue.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorThor
    • CommentTimeJun 28th 2013
    PawelStroinski wrote
    My favourite cues in the movie were Goodbye, My Son, Krypton's Last (until the ostinato blared when the capsule was landing on Earth, it took me out of the film), Flight, If You Love These People and the last cue.


    Those are indeed the highlights of the score.

    As I've said elsewhere, I really like the film + score-in-context and the album is growing on me.
    I am extremely serious.
  5. When it comes to the score in the film, I loved the idea that Hans created really two themes for the character, mirroring his double identity (being born an alien - the Kal-El theme - and raised a human - the Clark Kent theme). The Kal-El theme stemming directly from the motif for Krypton was an inspired idea and, in fact, that the first four notes of the Clark theme and the Krypton motif are the same melody, one being in a minor key (Krypton), the other one in a major key, though my favourite idea is how Hans leads to the Superman theme.

    The idea is quite simple. The Superman theme is developing from the simplest motifs. Look to the Stars - Kal-El is born, Hans starts the soaring progressions, but stops, before the theme can start, it's just the pre-thematic material. Then during Superman's first flight attempt, the failed performance of the theme mimics the result of the flight (it's still unfinished!). Then Kal-El accepts who he is, tries again and this time he succeeds - hence the triumphant performance of the Kal-El theme. Also, notice that in both moments start with the Krypton motif.

    Now, based on the end of the proper story, the fact that the full Superman theme - when the character arc is finished and I'll stress this point Superman makes his final decision (stupid or not, controversial or not, the final moments of the fight may not be in tune with the comic book canon, but they are consistent with the film's theme) - starts with Clark's theme is fully logical. And having made his choice, he earns the full thematic performance.

    So narratively (with the exception of the theme for Zod, which is an unusally weak villain theme for Hans, I must say, to the point of me scratching my head, where's that great villain theme that tends to totally overshadow the protagonist theme that was the staple of his style for some time?!) I will defend the score. It's the realization that, I think, fails.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorErik Woods
    • CommentTimeJun 29th 2013 edited
    PawelStroinski wrote
    Now, based on the end of the proper story, the fact that the full Superman theme - when the character arc is finished and I'll stress this point Superman makes his final decision (stupid or not, controversial or not, the final moments of the fight may not be in tune with the comic book canon, but they are consistent with the film's theme) - starts with Clark's theme is fully logical. And having made his choice, he earns the full thematic performance.


    Sorry, but I DETEST the earning the theme attitude in film scoring now! Hate it, hate it, hate it!

    Imagine John Williams saying to George Lucas. "Luke has to earn his theme so we are going to play just the first two notes of Luke's theme during the main title... over and over again for 2 and half minutes and won't play his theme until he blows up the Death Star or becomes a Jedi because he doesn't deserve it yet."

    vomit

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  6. No longer we have fully-presented main title sequences (sadly, I would add), so for an origin story I think it works quite well, also on an emotional level.

    Notice how after the great main title sequence, the Superman theme doesn't show up at all until the end of the Fortress of Solitude sequence and even then it's unfinished until his first heroic deed.

    Had Hans had a full elaborate main title sequence like Williams had, it might have looked differently. The first flight is failed, so he cuts the theme short. Where else would you have used the Superman theme? In the oil rig sequence? The bus sequence? Clark being a kid, I don't think it'd have worked (and if I remember correctly, that scene is actually unscored, isn't it?)
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorErik Woods
    • CommentTimeJun 29th 2013
    PawelStroinski wrote
    Notice how after the great main title sequence, the Superman theme doesn't show up at all until the end of the Fortress of Solitude sequence and even then it's unfinished until his first heroic deed.


    Actually, it's played when Kal-el's escape pod crashes through the roof on Krypton!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  7. I hadn't noticed it!
    http://www.filmmusic.pl - Polish Film Music Review Website
  8. The Tree of Life - Desplat

    Yes.
  9. Giving it one final chance...

    "Memoirs of an Invisible Man"
    By: Shirley Walker


    No, still not taken by it. Tehre are small pieces here & there, but as a whole it's not working. It's like weaker B:TAS scoring, but not as cohesive, and the music is shifting a little too much to meet the needs of the film. It probably fits the film fine, but that's irrelevant to the listening experience.

    The CD is also very short, too, at 29:50. The last track is like just aregular track from somewhere around the end of the film -- there's no closing credits or track that closes the film in a musically spectacular way. The whole CD comes and goes without note if you don't pay attention.
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
    •  
      CommentAuthorMiya
    • CommentTimeJun 29th 2013
    NP: Treasure Planet - JNH

    Anyone who loves this score... more than Atlantis? And I love the movie too. It's one of the best from Disney, I can say. (Thinking about buying the US version of Blu-ray, because it's not released in Japan yet :/)
    Labels are for cans, not people. - Anthony Rapp
    •  
      CommentAuthorBobdH
    • CommentTimeJun 29th 2013
    Miya wrote
    NP: Treasure Planet - JNH

    Anyone who loves this score... more than Atlantis? And I love the movie too. It's one of the best from Disney, I can say.


    Of... Disney's later years? Of the post-Hunchback era...?
    Surely you can't mean of Disney's WHOLE legacy, with films like Bambi, Snow White and Pinocchio in its canon? Right?
  10. NP: Les Miserables - Basil Boledouris

    Wow, this is great film music. Thanks, Martijn and Timmer, for recommending this one.

    Stylistically this isn't that far from the musical. (No singin of course) Poledouris was ever so boldly thematic and gorgeously melodic! A great listening experiance.

    Volker
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorsdtom
    • CommentTimeJun 29th 2013
    Tale of a Forest. An fine score
    Tom
    listen to more classical music!
    •  
      CommentAuthorStavroula
    • CommentTimeJun 29th 2013 edited
    Bram Stoker's Dracula ~ Wojciech Kilar

    Not a summery score, I know, but it generates such a powerful storm of emotions that manages to cover anything else one may be feeling.
    Whatever you gaze rests on,do not use your vision, but the eyes of your soul...She knows better...
    •  
      CommentAuthorScribe
    • CommentTimeJun 29th 2013
    Why does Man of Steel sound so bad on speakers and so good on headphones? slant
    I love you all. Never change. Well, unless you want to!