register

  • Categories

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

 

RYAN AMON

General Discussions » RYAN AMON (Posts 1 to 20 of 20)

  1.  
  1. Another new composer needing a new thread!

    To kick it off, here's my review of his debut score ELYSIUM, if anyone is interested:

    http://moviemusicuk.us/2013/08/06/elysium-ryan-amon/

    Jon
    Movie Music UK http://www.moviemusicuk.us
    •  
      CommentAuthorSteven
    • CommentTimeAug 7th 2013
    Excellent review, Jon. You've certainly piqued my interest in this score, which I must admit I assumed would be another RC like noise fest.

    It's always nice when a newcomer gets a positive reception.
    •  
      CommentAuthorErik Woods
    • CommentTimeAug 7th 2013
    Steven wrote
    Excellent review, Jon. You've certainly piqued my interest in this score, which I must admit I assumed would be another RC like noise fest.


    It's not a noise fest but I challenge you to separate this score from the rest of the generic RC/MV scores written over the years. Zero personality in this one no matter how many sampled baboons or throat singers he used.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorScribe
    • CommentTimeAug 7th 2013 edited
    What generic RC/MV scores are you actually referring to? There's Atli's Hansel & Gretel, there's Morris' Olympus Has Fallen and The Vikings, there's Jablonsky's Gears of War Judgement and Gangster Squad, and there's Heitor Peirera's Despicable Me 2 and Smurfs 2. Which of those is Elysium so similar to? I've listed the most boring, derivative RC scores of the year but IMO even those have enough of their own personality to be distinguished from each other.

    I'm excluding things that are obviously new territory and thus not generic, such as Game of Thrones Season 3 or Pain & Gain.
    I love you all. Never change. Well, unless you want to!
    •  
      CommentAuthorSteven
    • CommentTimeAug 7th 2013
    I use 'RC' as a catchall for generic modern action scores. That generic sound, pulsating drony synths, flat string ostinatos, all super serious and no fun. Perhaps not strictly accurate to refer to every modern score like that as an RC-like affair, but I think most people understand what is meant by that.
  6. The funniest thing is that one of the most influential scores and soundscapes for this kind of sound (created for a specific, very specific context) was created by an ex-MV/RCP composer AFTER he left the studio biggrin
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorScribe
    • CommentTimeAug 7th 2013
    Steven wrote
    I use 'RC' as a catchall for generic modern action scores. That generic sound, pulsating drony synths, flat string ostinatos, all super serious and no fun. Perhaps not strictly accurate to refer to every modern score like that as an RC-like affair, but I think most people understand what is meant by that.


    I don't think I really listen to any scores like that that aren't composed by actual RC or ex-RC composers.
    I love you all. Never change. Well, unless you want to!
    • CommentAuthorTimmer
    • CommentTimeAug 7th 2013
    Steven wrote
    I use 'RC' as a catchall for generic modern action scores. That generic sound, pulsating drony synths, flat string ostinatos, all super serious and no fun. Perhaps not strictly accurate to refer to every modern score like that as an RC-like affair, but I think most people understand what is meant by that.


    I do and I think many others think it that way too.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorTimmer
    • CommentTimeAug 7th 2013
    PawelStroinski wrote
    The funniest thing is that one of the most influential scores and soundscapes for this kind of sound (created for a specific, very specific context) was created by an ex-MV/RCP composer AFTER he left the studio biggrin


    A very good point Powell....I mean Pawel.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorSteven
    • CommentTimeAug 7th 2013 edited
    Scribe wrote
    Steven wrote
    I use 'RC' as a catchall for generic modern action scores. That generic sound, pulsating drony synths, flat string ostinatos, all super serious and no fun. Perhaps not strictly accurate to refer to every modern score like that as an RC-like affair, but I think most people understand what is meant by that.


    I don't think I really listen to any scores like that that aren't composed by actual RC or ex-RC composers.


    I don't know to be honest. I just think there's a certain trend at the moment, a fashionable way of scoring, and it's that drony/pulsy sound I was referring to. Kinda gets boring after a while. I just want to hear some trumpets from time to time.
  11. Timmer wrote
    PawelStroinski wrote
    The funniest thing is that one of the most influential scores and soundscapes for this kind of sound (created for a specific, very specific context) was created by an ex-MV/RCP composer AFTER he left the studio biggrin


    A very good point Powell....I mean Pawel.

    For the life of me I couldn't think of what score/composer was being referenced here. Thanks for the "hint". Derp. biggrin

    To be honest I barely even consider him related to MV/RC anymore.
  12. I think a large problem with Powell's perception in the film music world and the film world itself is forgetting that he was Hans' biggest collaborator (not just the Beam track on the soundtrack, he did more arrangements of the thematic material) on The Thin Red Line. The only one to get formal additional music credit in the film (some minor arrangements were done by Klaus Badelt as well).

    Of course, his first major score was one of at the same time the lesser and most interesting pure MV scores that was Face/Off (no space to get into that score's history in this thread), but then his career went the other way. The guy needs to do more live action and I'd definitely LOVE to see him doing big dramas and even some darker stuff as well.
    http://www.filmmusic.pl - Polish Film Music Review Website
  13. Hey, I like Face/Off. It's an MV score through and through but beneath that you can already hear Powell's voice starting to assert itself, especially in the quieter thematic portions. "Ready for the Big Ride, Bubba" I find to be a genuinely moving cue, okay? tongue
    •  
      CommentAuthorScribe
    • CommentTimeAug 7th 2013
    I didn't think Pawel was dissing Face/Off. I like it too.
    I love you all. Never change. Well, unless you want to!
  15. Scribe wrote
    I didn't think Pawel was dissing Face/Off. I like it too.

    Oh, okay. I thought he said "lesser-most interesting" as in least interesting, when what he really said was lesser and at the same time most interesting. Gotcha. Derp again. tongue
    •  
      CommentAuthorSouthall
    • CommentTimeAug 7th 2013
    Scribe wrote
    What generic RC/MV scores are you actually referring to?


    I know where people are coming from with that comparison and this does have an RC air to it - particularly the HORN OF DOOM and some of the drum loops - but the orchestra is more orchestral than you'd find in a "generic RC/MV score", there's more clarity to it, so I don't particularly agree with that assessment.
    http://www.movie-wave.net | http://facebook.com/moviewave
    •  
      CommentAuthorSouthall
    • CommentTimeAug 10th 2013
  18. I think it's just astonishing that one struggles to write a review these days without referencing RC one way or another. I'm not sure what to make of that. But I'll do my damndest to avoid it (not doing so well so far hehe).

    <s>
    www.synchrotones.wordpress.com | www.synchrotones.co.uk | @Synchrotones | facebook | soundcloud | youtube
  19. I don't think that's a problem. RC scores have become the dominant voice in Hollywood film music. It's helpful to compare and contrast any score with that dominant voice. Besides, it would be pretty difficult to review ELYSIUM without referencing RC music, from what I've read about it.
  20. Synchrotones reviews Elysium (Ryan Amon) - http://synchrotones.wordpress.com/

    And yes, I'm referencing Remote Control. Couldn't avoid it, LOL.
    But I'm also mentioning Marco Beltrami, John Williams and Franz Waxman! :-O

    thanks,
    pete.
    www.synchrotones.wordpress.com | www.synchrotones.co.uk | @Synchrotones | facebook | soundcloud | youtube

1 to 20 of 20

  1.