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[Closed] Now Playing XLVI

General Discussions » Now Playing XLVI (Posts 3511 to 3540 of 6016)

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    • CommentAuthorTimmer
    • CommentTimeMay 13th 2014
    Yes, these are more extreme opposites than a minor quibble. wink
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorThor
    • CommentTimeMay 13th 2014
    Well, on the plus side it's nice that it's not all Williams' JANE EYRE-type things which both of us love from here to heaven.
    I am extremely serious.
    • CommentAuthorTimmer
    • CommentTimeMay 13th 2014
    yeah
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  4. NP: Mission: Impossible 2 (2000) - Zimmers Hänschen

    This is very good!

    Volker
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorMartijn
    • CommentTimeMay 13th 2014
    Thor wrote
    Timmer wrote
    Thor wrote
    but I personally think Zimmer's score is the best

    One of the most detestable Zimmer scores I can think of.


    With HAMLET, that's TWO scores today where we're MILES apart!


    Staying squarely in the middle, I love Morricone's exquisite bleak score to Hamlet, and I love Zimmer's blood'n'guts Mission Impossible score. biggrin
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorSouthall
    • CommentTimeMay 13th 2014
    Martijn wrote
    Thor wrote
    Timmer wrote
    Thor wrote
    but I personally think Zimmer's score is the best

    One of the most detestable Zimmer scores I can think of.


    With HAMLET, that's TWO scores today where we're MILES apart!


    Staying squarely in the middle, I love Morricone's exquisite bleak score to Hamlet, and I love Zimmer's blood'n'guts Mission Impossible score. biggrin


    I thought Zimmer's was quite underrated (though I by no means love it). Elfman's is brilliant.
    http://www.movie-wave.net | http://facebook.com/moviewave
    •  
      CommentAuthorSteven
    • CommentTimeMay 13th 2014
    My vote is for Giacchino's second Mission Impossible score. (Although Elfman's score as heard in the film is quite something.)
    •  
      CommentAuthorlp
    • CommentTimeMay 13th 2014
    NP: Godzilla - Alexandre Desplat

    Some of the action cues feature an awesome breed of Goldenthal Brass with Beltrami ostinato/percussion writing style. That's where the gold flows. But where are the thematic materials? I'm dying for a stomping Gojira theme like the one Ramin Djawadi came up with in Pacific Rim.
    •  
      CommentAuthorErik Woods
    • CommentTimeMay 13th 2014
    There is one. Listen to the first track again!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorlp
    • CommentTimeMay 13th 2014
    Southall wrote
    Martijn wrote
    Thor wrote
    Timmer wrote
    Thor wrote
    but I personally think Zimmer's score is the best

    One of the most detestable Zimmer scores I can think of.


    With HAMLET, that's TWO scores today where we're MILES apart!


    Staying squarely in the middle, I love Morricone's exquisite bleak score to Hamlet, and I love Zimmer's blood'n'guts Mission Impossible score. biggrin


    I thought Zimmer's was quite underrated (though I by no means love it). Elfman's is brilliant.


    Elfman's effort, then Zimmer's take, and then Giacchino's stuff all blends together into one, really.
    •  
      CommentAuthorlp
    • CommentTimeMay 13th 2014 edited
    Erik Woods wrote
    There is one. Listen to the first track again!

    -Erik-


    That one is forgettable, since I've forgotten it.

    EDIT

    If youre' referring to the initial melody, I don't like it. It's long winded and completely unbecoming.

    If you're referring to the two note modulating Beltrami-style ostinato, that one works well for action scenes.
    •  
      CommentAuthorErik Woods
    • CommentTimeMay 13th 2014
    Listen again. It's played a ton of times throughout the course of the score. That whole track gets picked apart and applied in various different ways as well. Superb score!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    • CommentAuthorTimmer
    • CommentTimeMay 13th 2014
    yeah
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorSteven
    • CommentTimeMay 13th 2014
    I think there is a difference between 'difficult to remember' and 'forgetabble'. It's more than just semantics, that first track is certainly not forgettable, it just doesn't have an easily recognisable melodic line.
    • CommentAuthorTimmer
    • CommentTimeMay 13th 2014 edited
    *'forgetabble'

    Oh how soon though doth crash down to earth. biggrin
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorMartijn
    • CommentTimeMay 13th 2014
    Yep, I too find the lack of "stomping Gojira theme" (applause) a bit grating, and sadly it makes for a less compelling listening experience for me.
    But I can't wait to hear the score in context.
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorSteven
    • CommentTimeMay 13th 2014
    Timmer wrote
    *'forgetabble'

    Oh how soon though doth crash down to earth. biggrin


    Ha! biggrin
    •  
      CommentAuthorlp
    • CommentTimeMay 13th 2014
    Steven wrote
    I think there is a difference between 'difficult to remember' and 'forgetabble'. It's more than just semantics, that first track is certainly not forgettable, it just doesn't have an easily recognisable melodic line.


    I'm saying that the "main" melodic line is not good enough. I don't care if the "main theme" is picked apart and worked on through out the score. Anyone can do that. I'm saying that the main melody, first played on horn(?), is a lesser version of something David Arnold would create, is lame. The whole "Godzilla" track, works not because of that short melody, but because of the ostinati that supports it.

    The bigger problem, for me, is this. I want to really like this score. I really want this score to be my way into Desplat's work, aside from his Julie & Julia score, but really, this score shows me that Desplat didn't give me anything unexpected. I think any knowledgeable composer could have delivered a similar result. I like some of the stuff Desplate wrote, but it's largely forgettable.
    •  
      CommentAuthorlp
    • CommentTimeMay 13th 2014
    Martijn wrote
    Yep, I too find the lack of "stomping Gojira theme" (applause) a bit grating, and sadly it makes for a less compelling listening experience for me.
    But I can't wait to hear the score in context.


    Agreed. The in-movie version could change my opinion completely.
    •  
      CommentAuthorMartijn
    • CommentTimeMay 13th 2014
    Timmer wrote
    Oh how soon though doth crash down to earth. biggrin


    Shall I?
    Shall I?

    Naah.
    Well...maybe...
    No.
    No, I won't.

    Thou

    Shit.
    I did.
    shame
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    • CommentAuthorTimmer
    • CommentTimeMay 13th 2014
    Martijn wrote
    Timmer wrote
    Oh how soon though doth crash down to earth. biggrin


    Shall I?
    Shall I?

    Naah.
    Well...maybe...
    No.
    No, I won't.

    Thou

    Shit.
    I did.
    shame




    It don't matter! Fact is that Steven missed it. biggrin
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorMartijn
    • CommentTimeMay 13th 2014
    Well played, old bean. Jolly well played. biggrin
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorSteven
    • CommentTimeMay 13th 2014 edited
    lp wrote
    Steven wrote
    I think there is a difference between 'difficult to remember' and 'forgetabble'. It's more than just semantics, that first track is certainly not forgettable, it just doesn't have an easily recognisable melodic line.


    I'm saying that the "main" melodic line is not good enough. I don't care if the "main theme" is picked apart and worked on through out the score. Anyone can do that. I'm saying that the main melody, first played on horn(?), is a lesser version of something David Arnold would create, is lame. The whole "Godzilla" track, works not because of that short melody, but because of the ostinati that supports it.


    Then you've missed the point. This isn't meant to be like Arnold's score (though it's inevitable the comparison would pop up eventually!), it's clearly written for a meaner, darker film. It just doesn't need a big concert-like theme given how effective it is without one. I haven't seen the film, so I can't comment on its effectiveness strictly within context, but it's not exactly hard to imagine this music working well to images of a large lizard stomping around a city.
    •  
      CommentAuthorThor
    • CommentTimeMay 13th 2014
    It actually has lots in common with those ol' scores by Ifukube, I think that needs pointing out.
    I am extremely serious.
    •  
      CommentAuthorSteven
    • CommentTimeMay 13th 2014
    Timmer wrote
    It don't matter! Fact is that Steven missed it. biggrin


    Goddammit.
    •  
      CommentAuthorThor
    • CommentTimeMay 13th 2014
    NP: VISITORS (Philipp Glass)

    Not quite sold -- minimalism is on/off to me, depending on conceptualization -- but I want to give it a few more shots.
    I am extremely serious.
    • CommentAuthorTimmer
    • CommentTimeMay 13th 2014
    Thor wrote
    It actually has lots in common with those ol' scores by Ifukube, I think that needs pointing out.


    Absolutely! I'd say it's got moments of good "old fashioned" monster music for want of a better word.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorTimmer
    • CommentTimeMay 13th 2014
    Thor wrote
    NP: VISITORS (Philipp Glass)

    Not quite sold -- minimalism is on/off to me, depending on conceptualization -- but I want to give it a few more shots.


    Have you tried Glass symphonies Low and Heroes based on the work of David Bowie and Brian Eno?
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorMartijn
    • CommentTimeMay 13th 2014 edited
    Timmer wrote
    Thor wrote
    It actually has lots in common with those ol' scores by Ifukube, I think that needs pointing out.


    Absolutely! I'd say it's got moments of good "old fashioned" monster music for want of a better word.


    How do you figure? Ikufube (like -interestingly- many other Japanese composers in the Godzilla universe) had a very strong recognisable theme, and employed growling strings and piano mainly for the 'incidental' music.

    Desplat (brilliantly) uses the darkest, deepest brass I have ever heard (I'd love to know how many trombones he used!), and powerful percussion (and no 'hummable' theme to be found).

    Honestly, I see/hear no comparison at all!
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
  30. If there is a similarity it's because while Ifukube's score has a VERY recognizable, in fact even iconic, theme, it's still a score of rhythm. Desplat's score is a rhythmic powerhouse above all. If Ifukube is somewhere to be found, and he potentially is, though I haven't delved into the original too much, having listened to it first in full today (I knew the theme from parodies and Symphonia Fantasia, a concert work combining his kaiju material), it would be in the rhythmic inspirations.
    http://www.filmmusic.pl - Polish Film Music Review Website

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