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    • CommentAuthorTimmer
    • CommentTimeJan 6th 2015
    Don Davis
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  1. Don Corleone

    (Ordered both the abovely anounced CDs.)
    Bach's music is vibrant and inspired.
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      CommentAuthorSteven
    • CommentTimeJan 6th 2015
    I'm 93.8% sure abovely is not a word.
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      CommentAuthorScribe
    • CommentTimeJan 6th 2015
    I'm 100% sure his meaning was clearly communicated to anyone with the slightest competency in English nonetheless. biggrin
    I love you all. Never change. Well, unless you want to!
    • CommentAuthorTimmer
    • CommentTimeJan 6th 2015
    Steven wrote
    I'm 93.8% sure abovely is not a word.


    English being the Borg language it is, 'abovely' will surely ( and deservedly ) be assimilated.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  2. smile
    Bach's music is vibrant and inspired.
    • CommentAuthorAnthony
    • CommentTimeJan 7th 2015
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      CommentAuthorArtworks
    • CommentTimeJan 7th 2015
    Cool, thanks.
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      CommentAuthorArtworks
    • CommentTimeJan 7th 2015
    Another link, with slightly better audio:
    http://www.thescore.org/a-conversation-with-michael-giacchino/
    • CommentAuthorAnthony
    • CommentTimeJan 20th 2015
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      CommentAuthorJim Ware
    • CommentTimeJan 20th 2015
    This sounds fantastic!
    • CommentAuthorBasilB
    • CommentTimeJan 20th 2015

    Thanks a lot!! Sounds very promising indeed. Can't wait to listen to the whole album!!
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      CommentAuthorScribe
    • CommentTimeJan 21st 2015
    I read that the Wachowskis were recommended by Tom Twyker to record the score before the film is put together, and after liking that way of doing things on Cloud Atlas, decided to always do it that way. So this music from Giacchino is going to be more of a traditional symphony structure than scored to the picture like the vast majority of film scores, and that excites me to no end. I loved that approach on Cloud Atlas. Looking back it's readily apparent during some of the climactic sequences, they were reminiscent of Zimmer's "epic adagios" and we all know Zimmer writes at least the majority of the music before the film is edited. This method gives the score a more prominent place in the final product and lets it have more emotional impact, as well as freeing up the composer to write without being constrained by the limits of what's already been filmed.
    I love you all. Never change. Well, unless you want to!
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      CommentAuthorArtworks
    • CommentTimeJan 21st 2015
    Awesome clips! Also, "Abdicate this!" - love the Matrix reference smile
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      CommentAuthorBobdH
    • CommentTimeJan 21st 2015
    "Regenex Is People" feels like a Cloud Atlas reference.
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      CommentAuthorScribe
    • CommentTimeJan 21st 2015
    BobdH wrote
    "Regenex Is People" feels like a Cloud Atlas reference.


    It's also a joke about the plot of Jupiter Ascending.
    I love you all. Never change. Well, unless you want to!
    • CommentAuthorDavid OC
    • CommentTimeJan 22nd 2015
    Huge fan of Giacchino's action music and this seems absolutely packed to the gills with it. Can't wait to hear all of his four upcoming scores.
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      CommentAuthorArtworks
    • CommentTimeJan 26th 2015
    May/June is going to be great... 3 new Giacchino scores! smile
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      CommentAuthorFeliz
    • CommentTimeFeb 4th 2015
    It's out! Jupiter Ascending, that is. I'm listening to it right now! Based off the first 3 cues, I'mma say y'all are gonna like it. Beautiful stuff.
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      CommentAuthorErik Woods
    • CommentTimeFeb 4th 2015 edited
    Read the now playing thread, Feliz. We are waaaaaaay ahead of you.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
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      CommentAuthorFeliz
    • CommentTimeFeb 4th 2015
    Haha! There you all are! That's a relief! I was wondering where everyone had gone.
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      CommentAuthorThor
    • CommentTimeFeb 4th 2015 edited
    So I just came back from a press screening JUPITER ASCENDING. As expected, it was pure nonsense from start to finish. Not even some great action setpieces and visual vistas can save it.

    I realize that I will spend the remainder of the year explaining WHY I didn't like the film and score to a massive majority that does (at least as far as the score is concerned), so I've decided to scribble down a few thoughts that I can use as template in future discussions. I will probably copy/paste this into various forums discussing the film and score.

    The film sets out to be a space opera with clearcut inspirations, especially STAR WARS. Knowing the Wachowskis, it also aspires to be something more; some extra philosophical layer tucked into the spectacle. Well, like CLOUD ATLAS, it fails in that department too. The philosophical aspects are completely void and clichéed. It isn't even CLOSE to acquiring the mythological ambitions of Lucas' visions.

    But the biggest problem is how messy it is, both in terms of tempo, action, ideas and story. Sometimes, this can work, like in Darren Aronofsky's movies or even Zack Snyder. Here, it doesn't. It just becomes aggravating. You're reduced to watching the action setpieces from afar, without any emotional investment in the characters or their destinies whatsoever.

    And then there's the noise. THE NOISE, DAMMIT! The film was shown in 3D and with Atmos sound (whatever that is), janked up to the max. Fortunately, I had brought earplugs. Otherwise, I wouldn't have survived.

    Like with so many Marvel movies etc. these days, there's simply no desire to be restrained, no desire to use these magnificent technological possibilities in a sensible way. Chris Nolan managed beautifully with INTERSTELLAR. Why can't people learn from that?

    Which brings me to the score. As with the sound, the music is insanely loud, noisy and intrusive throughout the picture. If I felt that way on album, it felt that way a 100 times more in the film. Giacchino basically obsesses over clusters and 'cells' of rhytmical figures that pound away non-stop. It drove me mad.

    To be fair, there are a couple of calmer moments that were quite nice -- like the choral bits, the wedding cue etc. -- but they were few and far between.

    I've long since realized that Giacchino's music is almost biologically adverse to my preferences, but I thought maybe this vast canvas would inspire him to write something reasonably likeable even for me -- at least close to JOHN CARTER which I found moderately OK. Alas, that was not the case.

    BUT...as far as the album is concerned, I'm going to try and find a workable listening experience in the mess that is the commercial release. Maybe use Anthony's playlist as a point-of-departure, then replace the noisier material with the calmer and cut it down to maybe 45-50 minutes or so, max.

    Rant over. I'm impressed if you read it all.
    I am extremely serious.
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      CommentAuthorScribe
    • CommentTimeFeb 4th 2015
    Please don't criticize the Wachowskis for failing to provide a meaningful layer of "meaning" to the plot of this film...the project was handed to them by Warner Bros and its unlikely they had any authority to change the absurd, laughable basic premise. They were directors only in this case and I fully expect to loath this film despite loving all 3 Matrix films and even more so Cloud Atlas.
    I love you all. Never change. Well, unless you want to!
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      CommentAuthorThor
    • CommentTimeFeb 4th 2015
    Scribe wrote
    Please don't criticize the Wachowskis for failing to provide a meaningful layer of "meaning" to the plot of this film...the project was handed to them by Warner Bros and its unlikely they had any authority to change the absurd, laughable basic premise. They were directors only in this case and I fully expect to loath this film despite loving all 3 Matrix films and even more so Cloud Atlas.


    Well, even if it is a 'work for hire', as you say, the best directors and auteurs in this world are able to make the material into their own. With BOUND and the MATRIX movies, the siblings showed a lot of promise. But with SPEED RACER, CLOUD ATLAS and now JUPITER ASCENDING, they're clearly struggling to channel that enormous talent into something worthwhile -- whether they have written the work themselves or been hired to direct.

    It's rather sad, to be honest.
    I am extremely serious.
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      CommentAuthorThor
    • CommentTimeFeb 4th 2015 edited
    I should add that I DO like the album-exclusive 'symphony' adaptation of the score.
    I am extremely serious.
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      CommentAuthorScribe
    • CommentTimeFeb 4th 2015
    Thor wrote
    Well, even if it is a 'work for hire', as you say, the best directors and auteurs in this world are able to make the material into their own. With BOUND and the MATRIX movies, the siblings showed a lot of promise. But with SPEED RACER, CLOUD ATLAS and now JUPITER ASCENDING, they're clearly struggling to channel that enormous talent into something worthwhile -- whether they have written the work themselves or been hired to direct.

    It's rather sad, to be honest.


    I understand what you're saying and I'm trying to express that I dont' think either Speed Racer or Jupiter Ascending plausibly allowed for any such sort of creative freedom to express themselves. Whereas Cloud Atlas was a love project and they performed admirably, even wonderfully in my view.
    I love you all. Never change. Well, unless you want to!
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      CommentAuthorThor
    • CommentTimeFeb 4th 2015
    I was so willing to embrace CLOUD ATLAS, having read about the concept in advance, but unfortunately they stumbled a bit into the second or third story, IMO. Again, it became too 'messy' for me. But maybe I should revisit it. I felt like maybe I missed a few bars the first couple of times I saw it.
    I am extremely serious.
  3. Well, as I've heard it, Warner went to the Wachowskis to write and invent a completely new universe for them to build a franchise from. I don't think you could call that a job many would decline. The chance to create something new and be asured that Warner wants to make a big thing out of it? Beside the obvious pressure of the sheer immensity of the project that could interfere with your creativity, isn't that what many writers aspire to, something own and original, big and good, that a big studio wants to build a franchise from? Doesn't sound like the worst deal ever to me.
    • CommentAuthorAnthony
    • CommentTimeFeb 7th 2015
    MG said he wrote and recorded 80 minutes of music for Jupiter Ascending before the film had been shot, and that around 55% of that material made it into the film, and pickup sessions were done to fill in the gaps.

    I saw the movie today and the result sounds like what the above suggests. The score in the movie does feel like a cut and paste job, and large portions of the album are unused or only presented in abridged form. Maybe if I hadn’t heard the soundtrack first I wouldn’t have noticed. The release delay could always have resulted in heavy changes too.

    Luckily, the album suggests the write-to-script method is actually a huge positive, presenting more of what I assume is the originally recorded material than what I would have initially thought.

    In addition to the four “Movement” cues, I’d be inclined to say the following are also suites/initial recordings:

    The Houses Of Abrasax
    The Abrasax Family Tree
    The Titus Clipper (very, very little used)
    A Wedding Darker (don’t remember hearing this at all)
    It’s A Hellava Chase (I’d say less than a third appears in the movie)
    Flying Dinosaur Fight (hardly any used, swaps between this and the “with Guts” version)
    Commitment
    Flying Dinosaur Fight with Guts (portions of this appear in three or four different scenes)
  4. The score certainly feels more like a symphony than a film score. The pre-film-scoring method (a la Morricone) would explain that.
    Bach's music is vibrant and inspired.