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[Closed] Now Playing XLVII
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- CommentAuthorfranz_conrad
- CommentTimeJan 24th 2015 edited
Thor wrote
franz_conrad wrote
NP: Foxcatcher (Mychael Danna)
Well crafted score with emphasis on piano soli. The score leads beautifully into Arvo Part's Fur Alina (which I have a weakness for, having used it in a film myself).
Isn't the score primarily composed by Rob Simonsen, with thematic material by Danna?
I utterly disliked the film, btw. Enormously overrated.
Maybe. I didn't look at the composer credit too closely.
Funny that you didn't like it. I was struck throughout by the reserve of the filmmaking (fewest close ups in a film this year?), but in particular how often they relied on visual storytelling. Many of the key lines of dialogue are completely muted by the music. (And I bet no one has complained about it, a telling contrast to a certain other film of the year.) We know what these people are saying just by watching their body language and eyes. And the suppressed love story dimension - similar to The Master but a bit more legible - was done with great skill I thought, through framing, through editing choices. The horses scene is a beauty.
Each to his own, I guess. It seems to exhibit 'negative capability' better than any of the other Oscar candidates.A butterfly thinks therefore I am -
- CommentAuthorThor
- CommentTimeJan 24th 2015
franz_conrad wroteFunny that you didn't like it. I was struck throughout by the reserve of the filmmaking (fewest close ups in a film this year?),
Are you kidding me? That was one of my MAIN problems with the film. They seemed OBSESSED with Steve Carell's fake nose, and at one point I said to myself: "if I see one more profile close-up of that friggin' nose, I'm going to throw up!".
There was very little interesting in terms of audiovisual communciation here. Carell's character started off somewhat interesting, but quickly became annoying. The American 'sport film tropes' wore out their welcome quickly as well. Mark Ruffalo was mildly interesting (he's always good), but Channing Tatum was overwrought. This film -- like THE IMITATION GAME (I'm sorry to say, the director being Norwegian and all) -- is so clearly striving for Oscar ambitions, it's at times painful to watch.I am extremely serious. -
- CommentAuthorfranz_conrad
- CommentTimeJan 24th 2015 edited
Thor wrote
Are you kidding me? That was one of my MAIN problems with the film. They seemed OBSESSED with Steve Carell's fake nose, and at one point I said to myself: "if I see one more profile close-up of that friggin' nose, I'm going to throw up!".
Well, someone was obsessed with the nose. Not sure it was the filmmakers.
There was very little interesting in terms of audiovisual communciation here.
Again, each to his own, but you'll probably get more out of it if you try and understand what works about it. (And arguably it makes for a better film critic too.) Clearly it has communicated to some.
This film -- like THE IMITATION GAME (I'm sorry to say, the director being Norwegian and all) -- is so clearly striving for Oscar ambitions, it's at times painful to watch.
IMITATION is very baity, I agree. (Although I even see value there.) I'm not surprised FOX wasn't nominated for Best Picture. Homoeroticism is a bit tricky with old actors (who seem to be the Academy's key cohort).
May we never spend time on a desert island together. I fear I'd kill myself out of frustration early on, you'd survive only because of my meat, and when the rescuers came, you'd complain about the taste.
(That's a joke.)A butterfly thinks therefore I am -
- CommentAuthorThor
- CommentTimeJan 24th 2015
Do not attempt humour. I will fail to grasp it every time.
But yeah -- those two films did not suit my fancy, as it were, and FOXCATCHER was in fact very divisive in the film critic circles I frequented last week (during the festival where I saw it).I am extremely serious. -
- CommentAuthorSouthall
- CommentTimeJan 24th 2015
Atham wrote
Paper Planes - Nigel Westlake
Still spinning and ranting about this superb music.
I think it may only be available in Australia at this time (not sure), so Micheal, David, check it out!
If this was released on the 31st of December 2014 it would be score of the year for me. And there were quite a few scores I loved last year too. I've always enjoyed Westlakes' music. He's right up there with Christopher Gordon in my opinion. Just so melodic and richly symphonic. Beautifully performed by the Melbourne Symphony Orchestra too.
I actually saw the film on Monday not knowing who scored it and within 20 seconds of hearing the opening titles I thought "this has to be Nigel Westlake!' and I knew I had to get this one!
I can't quite describe the musical style here except it's perhaps a tad like Elfman's scores for Charlotte's Web and Black Beauty or Broughton's The Boy Who Could Fly but distinctly Westlake in orchestration. It's just joyous, uplifting music that's often exciting and yet very sweet. I hope everyone who likes this form of rich, old school orchestral scoring will get a chance to hear it. Brilliant stuff!
This is glorious! Thanks for the tip. (And it's not just available in Australia, thankfully - on UK iTunes) -
- CommentAuthorAtham
- CommentTimeJan 24th 2015
Glad you can hear it. There's so much to be enjoyed with Paper Planes that each listen is like a new adventure. Corny sounding I know, but that's what it's like I find. -
- CommentAuthorTimmer
- CommentTimeJan 25th 2015
I got around to listening to this score earlier this evening, really good, I was impressed. I'm going to give it another listen now.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorfranz_conrad
- CommentTimeJan 25th 2015
Southall wrote
Atham wrote
Paper Planes - Nigel Westlake
Still spinning and ranting about this superb music.
I think it may only be available in Australia at this time (not sure), so Micheal, David, check it out!
If this was released on the 31st of December 2014 it would be score of the year for me. And there were quite a few scores I loved last year too. I've always enjoyed Westlakes' music. He's right up there with Christopher Gordon in my opinion. Just so melodic and richly symphonic. Beautifully performed by the Melbourne Symphony Orchestra too.
I actually saw the film on Monday not knowing who scored it and within 20 seconds of hearing the opening titles I thought "this has to be Nigel Westlake!' and I knew I had to get this one!
I can't quite describe the musical style here except it's perhaps a tad like Elfman's scores for Charlotte's Web and Black Beauty or Broughton's The Boy Who Could Fly but distinctly Westlake in orchestration. It's just joyous, uplifting music that's often exciting and yet very sweet. I hope everyone who likes this form of rich, old school orchestral scoring will get a chance to hear it. Brilliant stuff!
This is glorious! Thanks for the tip. (And it's not just available in Australia, thankfully - on UK iTunes)
You weren't lying, Atham. (Not that I ever thought you were.) This is great -- elegant triumphal orchestral writing. I haven't liked a score in this vein for a while.A butterfly thinks therefore I am -
- CommentAuthorCaptain Future
- CommentTimeJan 25th 2015
NP: The Tudors Season 4 (2010) - Trevor Morris
Compelling TV scoring.
VolkerBach's music is vibrant and inspired. -
- CommentAuthorJosh B
- CommentTimeJan 25th 2015
Warlock - Jerry Goldsmith
Getting close to finishing off my 80s Goldsmith playlist and not a moment too soon. All the synths are driving me crazy! Warlock is no exception and a lot of the score is surprisingly anonymous for this composer. -
- CommentAuthorTimmer
- CommentTimeJan 25th 2015
NP : INHERENT VICE - Jonny Greenwood
This album is quite simply FANTASTIC!On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorCaptain Future
- CommentTimeJan 25th 2015
So, now it's time to turn to the score, singing the praise of which has become Edmund's trademark mantra.
NP: How to Train Your Dragon (2010) - John PowellBach's music is vibrant and inspired. -
- CommentAuthorCaptain Future
- CommentTimeJan 25th 2015
NP: How to Train your Dragon 2 (2014) - John Powell
I clearly prefer this one to the first: Less mono-thematic and overall more balanced. The mixed choir is also an improvement. The choir cues now no longer sound like the underscornig of the Red Army invading Ukraine.Bach's music is vibrant and inspired. -
- CommentAuthorThor
- CommentTimeJan 25th 2015
NP: QUO VADIS (Miklos Rozsa)
The Tadlow rerecording. Excellent, of course, but much, much too long and what is excellent eventually gives way to 'grating'. If anyone has a neat 50-60 minute program lying around, give me a holler!I am extremely serious. -
- CommentAuthorCaptain Future
- CommentTimeJan 25th 2015
What about the concert suite on the second disc?Bach's music is vibrant and inspired. -
- CommentAuthorThor
- CommentTimeJan 25th 2015 edited
Captain Future wrote
What about the concert suite on the second disc?
That's nice, but it's only, like, 20 minutes. It's not really representative of the whole thing.I am extremely serious. -
- CommentAuthorErik Woods
- CommentTimeJan 25th 2015
Timmer wrote
NP : INHERENT VICE - Jonny Greenwood
This album is quite simply FANTASTIC!
Indeed it is. This was the last score I listened to before compiled my best of 2014. This was the score made my show a Top 15 instead of a Top 10.
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorErik Woods
- CommentTimeJan 25th 2015
Captain Future wrote
NP: How to Train your Dragon 2 (2014) - John Powell
I clearly prefer this one to the first: Less mono-thematic and overall more balanced. The mixed choir is also an improvement. The choir cues now no longer sound like the underscornig of the Red Army invading Ukraine.
The first score is NOT mono-thematic.
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorErik Woods
- CommentTimeJan 25th 2015
Steven wrote
I'm going to do an Erik here, but holy crap that 9 minute cue near the end of the album.
host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorEdmund Meinerts
- CommentTimeJan 25th 2015
Captain Future wrote
NP: How to Train your Dragon 2 (2014) - John Powell
I clearly prefer this one to the first: Less mono-thematic and overall more balanced. The mixed choir is also an improvement. The choir cues now no longer sound like the underscornig of the Red Army invading Ukraine.
The first How to Train Your Dragon, mono-thematic? Say whaaaaaaaaat?
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- CommentAuthorSteven
- CommentTimeJan 25th 2015
Erik Woods wrote
Steven wrote
I'm going to do an Erik here, but holy crap that 9 minute cue near the end of the album.
'First listen' with enthusiastic updates! -
- CommentAuthorCaptain Future
- CommentTimeJan 25th 2015
NP: Dolannes Melody - Paul De Senneville & Olivier Toussaint
From the film Un linceul n'a pas de poches (1974)
That thriller was never released outside France and it is largely forgotten. The protagonist's theme was a European hit. Most people don't even know it's acually film music.Bach's music is vibrant and inspired. -
- CommentAuthorMartijn
- CommentTimeJan 25th 2015
Thor wrote
NP: QUO VADIS (Miklos Rozsa)
The Tadlow rerecording. Excellent, of course, but much, much too long and what is excellent eventually gives way to 'grating'. If anyone has a neat 50-60 minute program lying around, give me a holler!
You're welcome.'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn -
- CommentAuthorErik Woods
- CommentTimeJan 26th 2015
Steven wrote
Erik Woods wrote
Steven wrote
I'm going to do an Erik here, but holy crap that 9 minute cue near the end of the album.
'First listen' with enthusiastic updates!
Aaaaaah!
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorErik Woods
- CommentTimeJan 26th 2015
David OC wrote
I don't think so; I don't hear any real similarity.
Oh yeah... The Unsaid is the score that treads quite closely to Silvestri's Cast Away during "Good Game/ End Titles." Quite obvious, actually.
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorFalkirkBairn
- CommentTimeJan 26th 2015
Erik Woods wrote
David OC wrote
I don't think so; I don't hear any real similarity.
Oh yeah... The Unsaid is the score that treads quite closely to Silvestri's Cast Away during "Good Game/ End Titles." Quite obvious, actually.
-Erik-
I haven't heard Silvestri's Cast Away - until now. And I can hear how the progression (an ascending/descending figure) of the strings within the first 90 seconds of the 11-minute suite is reminiscent of "Good Game / End Titles" from The Unsaid.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 -
- CommentAuthorTimmer
- CommentTimeJan 26th 2015
Martijn wrote
Thor wrote
NP: QUO VADIS (Miklos Rozsa)
The Tadlow rerecording. Excellent, of course, but much, much too long and what is excellent eventually gives way to 'grating'. If anyone has a neat 50-60 minute program lying around, give me a holler!
You're welcome.
HIGHLY recommended!On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorDavid OC
- CommentTimeJan 26th 2015
Atham wrote
Paper Planes - Nigel Westlake
Still spinning and ranting about this superb music.
I think it may only be available in Australia at this time (not sure), so Micheal, David, check it out!
If this was released on the 31st of December 2014 it would be score of the year for me. And there were quite a few scores I loved last year too. I've always enjoyed Westlakes' music. He's right up there with Christopher Gordon in my opinion. Just so melodic and richly symphonic. Beautifully performed by the Melbourne Symphony Orchestra too.
I actually saw the film on Monday not knowing who scored it and within 20 seconds of hearing the opening titles I thought "this has to be Nigel Westlake!' and I knew I had to get this one!
I can't quite describe the musical style here except it's perhaps a tad like Elfman's scores for Charlotte's Web and Black Beauty or Broughton's The Boy Who Could Fly but distinctly Westlake in orchestration. It's just joyous, uplifting music that's often exciting and yet very sweet. I hope everyone who likes this form of rich, old school orchestral scoring will get a chance to hear it. Brilliant stuff!
Thanks for the tip and recommendation mate, have seen it around at JB and will definitely pick it up this week.
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- CommentAuthorDavid OC
- CommentTimeJan 26th 2015
The Boxtrolls - Dario Marianelli
Have no hesitation in saying this is my favourite score by this composer, though I do admit that other than Atonement, Anna Karenina and one or two others, I think a lot of his output has been generally overrated. A lot of this is based around a single long-lined theme but it's genius the way he plays with and shapes it throughout, whilst three or four action cues are dazzling. It sounds entirely orchestral which is reason enough to love something these days but the orchestrations are wonderful too with an array of interesting colours fleshing the quieter moments out. -
- CommentAuthorAtham
- CommentTimeJan 26th 2015
The Boxtrolls is a great score indeed! I agree with your post whole-heartedly!