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- CommentTimeJul 23rd 2017 edited
Demetris wrote
about dunkirk: i think we are overanalyzing the turd to death when even zimmer seems in some interview snippets etc to not really like it himself, and nolan jumping in to defend the score and outline how he wanted the score to sound like that and it was by his strict instructions that dunkirk the score came out like this. if it was by another composer , a medium name for instance, we would listen 2 times, discuss perhaps 1 time in a mention in np thread and move onto the next one just because it's by z and nolan that doesn't mean we shall be writing essays about everything they release interstellar is the best fruit of their collaboration so far and i doubt they will ever surpass it.
Disagree. Though I'm not following Pawel completely as I don't think Zimmer intellectualised this on a philosophical stance, I do think it touches here and there on Nolan's methods and what he was going for.
I believe I described my instinctive emotional reaction to listening to the score and something like that is not influenced by names like Zimmer's or Nolan's. Neither am I as shallow as not being able to discern work from names/artist, as I've been critical of both before in the (recent) past. I also said I'm not going to analyze this on a musical level as that's not what it is. I fully understand this is not a work that will get much listens, it won't be getting much from me, and it won't be discussed often anymore in the future, but it would be very unfortunate if this for future reference would go down as a "turd" in Zimmer's filmography labeled as such by those who haven't experienced it in picture or those who are unwilling to detach it from the label of "music", or are not willing to judge it on its own merits and what they were going for, as it IS inessence glorified sounddesign.
And about the strings at the end, well, that's your take on it, not mine. -
- CommentAuthorPawelStroinski
- CommentTimeJul 23rd 2017 edited
Demetris, Hans is not saying anything about this score, because he is on tour right now and is not on the promotional channels for this film. Not because he doesn't like it. He just doesn't have the time to properly talk about it. He might have not liked the process as even at the last minute things were still being worked out (and in fact that's when Lorne Balfe came in to finish supervising the project, as Hans had to start rehearsing the tour).
I am not saying that this was a philosophical decision as in "that's what I'm gonna do this time, let's go all Husserl/Merleau-Ponty/Heidegger or whatnot". I'm saying that it's a continuation of an approach that he had to philosophize about 20 years ago and which got confirmed in a non-philosophical way (Ridley Scott's not all that academically educated) on Black Hawk Down. So what was definitely discussed on a very deep level in case of The Thin Red Line as Hans worked with (for even!) a professional philosopher on it and spent the better part of a year on that (which ended at least one fruitful collaboration with him, namely with Tony Scott). Ridley wanted an internalized hell on Earth for warfare in Black Hawk Down. So, being his two first real war films, Hans has developed that approach as being his own. He is very well-read though. I remember asking him a question about Wittgenstein, a philosopher who Malick almost wrote his PhD on, and him not only telling me he loved it (Wittgenstein is not among the most accessible writers, mind you), but also recommending me another book on him.
What I'm saying is that Nolan being more or less inspired in Malick (the Cooper farm scenes in Interstellar sometimes look like a combination of Days of Heaven and, slightly, Tree of Life). Hans wasn't probably specifically told to go that way, but discussing, as Nolan pitched the film to the studio, "VR without headset" (which explains why the score is omnipresent, even), it was pretty much automatic how they would go about it, given their shorthand developed in earlier collaboration.
I disagree on the sound design bit. Too many rhythmic patterns to dismiss it as not being "real" music. It's even more tonal than people say (and frankly, Hans is not exactly educated enough to go "full avant-garde", even in Black Hawk Down he relegated that to his orchestrator who reportedly had to explain the players how to play some bits, hence his credit as "orchestral anarchy"). The quality of the music may be debated, but it's, still, music.http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentAuthorPawelStroinski
- CommentTimeJul 23rd 2017
The score for The Thin Red Line, however, was specifically mentioned by Nolan during early Inception discussions.http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentAuthorAnthony
- CommentTimeJul 23rd 2017 edited
A British newspaper described the score to Dunkirk in their review as "sounding like a freight train full of cutlery crashing into a fireworks factory." -
- CommentTimeJul 23rd 2017
Over-analyzing a mediocre score (on musical value) and perhaps of great sound design value. Will watch movie next weekLove Maintitles. It's full of Wanders. -
- CommentTimeJul 23rd 2017
As for the end-credit string cues, they come in welcome after the ticking intense mayhem of the whole score. But if you ask yourself to remember and hum anything, any theme motif something off that lines in the end, you'd be in trouble. It's just smooth synthy sounding string lines one after another, sparse chord processions. Now go and pop the thin red line in and compare for huge differenceLove Maintitles. It's full of Wanders. -
- CommentTimeJul 23rd 2017
I think we should all go see the movie before we evaluate this score's qualities (I'm seeing it tonight). It seems like one of those scores that are better appreciated in film than on album.I am extremely serious. -
- CommentAuthorPawelStroinski
- CommentTimeJul 23rd 2017
Demetris wrote
As for the end-credit string cues, they come in welcome after the ticking intense mayhem of the whole score. But if you ask yourself to remember and hum anything, any theme motif something off that lines in the end, you'd be in trouble. It's just smooth synthy sounding string lines one after another, sparse chord processions. Now go and pop the thin red line in and compare for huge difference
Try the bleak trumpet motif in Shivering Soldier/end of the last track. It kinda explains what kind of memorability they aimed at.
Thor wrote
I think we should all go see the movie before we evaluate this score's qualities (I'm seeing it tonight). It seems like one of those scores that are better appreciated in film than on album.
Early next week is all I can say. My brother is coming for a day or two and that day or two impacts when I will see it.http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentTimeJul 23rd 2017
Thor wrote
I think we should all go see the movie before we evaluate this score's qualities (I'm seeing it tonight). It seems like one of those scores that are better appreciated in film than on album.
true, let us know when you see it.Love Maintitles. It's full of Wanders. -
- CommentTimeJul 23rd 2017
NP: Lights, Camera, Music! Six Decades of John Williams
New in my collection. The only music here that I didn't have before in any other form was the overture to Mr. Chips and the Yorktown March from Midway. Anyhow, I imagine that for younger collectors this CD contains many more treasures that they did not have so far in their music library.
The album is very well put together, performance and recording are stellar. This album is a great listening experience. Highly recommended for any fan of the maestro.Bach's music is vibrant and inspired. -
- CommentTimeJul 23rd 2017
It's a fine album, even for seasoned fans like myself who have everything of Williams. Nice performance and selection.I am extremely serious. -
- CommentAuthorCindylover1969
- CommentTimeJul 23rd 2017
The finale from Indiana Jones And The Kingdom Of The Crystal Skull - the last 14 seconds is arguably the best thing about the whole movie! -
- CommentTimeJul 24th 2017
n.p. CLINTON SHORTER - Pompeii
Forgot how much I loved this! Playing loud, so much fun. Epic stuff.Love Maintitles. It's full of Wanders. -
- CommentTimeJul 24th 2017
Demetris wrote
n.p. CLINTON SHORTER - Pompeii
Forgot how much I loved this! Playing loud, so much fun. Epic stuff.
Fine score indeed. I really enjoy the movie too.I am extremely serious. -
- CommentAuthorTimmer
- CommentTimeJul 24th 2017
Thor wrote
Demetris wrote
n.p. CLINTON SHORTER - Pompeii
Forgot how much I loved this! Playing loud, so much fun. Epic stuff.
Fine score indeed. I really enjoy the movie too.
It was beyond dreadful. Appallingly bad.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentTimeJul 24th 2017
He, he....we seem to have 'opposite day' today, Timmer.I am extremely serious. -
- CommentTimeJul 25th 2017
Timmer wrote
Thor wrote
Demetris wrote
n.p. CLINTON SHORTER - Pompeii
Forgot how much I loved this! Playing loud, so much fun. Epic stuff.
Fine score indeed. I really enjoy the movie too.
It was beyond dreadful. Appallingly bad.
the movie? yes. the score was very enjoyable. in the 'turn mind off turn fun up' kind of things though.Love Maintitles. It's full of Wanders. -
- CommentTimeJul 25th 2017
Pompeii? Both the score and movie are guilty pleasures for me. Pure, perfect popcorn.
Though I was really blown away by the looks of Pompeii and how they achieved that.
The Making Of is really worth watching. -
- CommentTimeJul 25th 2017
Ralph Kruhm wrote
Pompeii? Both the score and movie are guilty pleasures for me. Pure, perfect popcorn.
Though I was really blown away by the looks of Pompeii and how they achieved that.
The Making Of is really worth watching.
looks like a very expensive but terribly cheesy video gameLove Maintitles. It's full of Wanders. -
- CommentTimeJul 25th 2017
Many qualities with that film. I wrote my review here (it's in Norwegian, so if you're really curious, you'll have to run it through Google Translate):
http://montages.no/2014/05/drivende-for … i-pompeii/I am extremely serious. -
- CommentTimeJul 25th 2017 edited
NP: PASSAGE TO DAWN (Diego Navarro)
I haven't been that impressed with Navarro's scores in the past, but this one impressed me. One of my favourites of the year so far. Calm, soothing, slow. My kind of score.I am extremely serious. -
- CommentTimeJul 25th 2017
danny elfman - the circle
thor have you listened to this wholly electronic 90's style electronica thingy? i think it will be down your alleyLove Maintitles. It's full of Wanders. -
- CommentAuthorPawelStroinski
- CommentTimeJul 25th 2017
Having listened to a bit of this score, I think it's more modern than the 90s in terms of sound.http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentTimeJul 25th 2017
Demetris wrote
danny elfman - the circle
thor have you listened to this wholly electronic 90's style electronica thingy? i think it will be down your alley
I think you mean up your street. I don't think I want to know what's down Thor's alley... -
- CommentTimeJul 25th 2017
Demetris wrote
danny elfman - the circle
thor have you listened to this wholly electronic 90's style electronica thingy? i think it will be down your alley
Absolutely. Love it! One of my favs of the year, and delightful to hear Elfman do an all-out electronic score again. Last time was WISDOM 30 years ago!I am extremely serious. -
- CommentAuthorCindylover1969
- CommentTimeJul 26th 2017
But it wasn't all electronic - given the presence of orchestrators.... -
- CommentTimeJul 26th 2017
I know you'd love it Up your street, yes i heard completely electronic 90's style music and i thought: Thor! Definitely not for me though, deleted after one listenLove Maintitles. It's full of Wanders. -
- CommentTimeJul 26th 2017 edited
dario marianelli - agora
such a powerful movie and score, loved every bit of it and often revisit (the score). heartfelt use of female vocals (which are not in a cliched way for once) and tender strings, performing the 2 powerful and touching themes plus some fascinating and lush arrangements for orchestra and choir. And duduk is nice too, again without overdoing it or in a cliched way. Compare all the elements in this score, how they come together coherent , meaningful and well-metered ,not in a excess. Very much unlike to the same media used in a generic RC score i miss Marianelli, it's been since 2012 and anna karenina that i've heard something this good and inspired. He's kinda out of form i feel. Or is he struggling to find space for orchestral works in this electronics' crap - often dominated field? if you hear the latest philippe rombi (philippe rombi ffs!) score you will understand what i am sayingLove Maintitles. It's full of Wanders. -
- CommentTimeJul 26th 2017
n.p. dario marianelli - anna karenina and dario marianelli - atonement
his two finest moments in his career so far, very tough to surpass. such grace, elegance, gorgeous orchestral writing and sentimental themes. top scores. anna karenina came after atonement , and feels like a natural continuation of that sound and style. love them equally. And as we are on the subject, here's how DUNKIRK is also scored https://www.youtube.com/watch?v=55CaD_j5FQs ... simply gorgeous.Love Maintitles. It's full of Wanders. -
- CommentTimeJul 26th 2017
n.p. Dario marianelli - eat pray love
Such a sweet, romantic orchestral flair for such a passable movie. I love it when the score is so much better than the movie cause at least we get offered a treat at the end! We got something out of this then hate, hate Julia Roberts btw.Love Maintitles. It's full of Wanders.