This thread is for all news and discussion regarding scoring assignments. Keep it all in this thread please!
Video game music people, you can of course also talk about any video game scoring news. 🙂
Current topics of interest (off the top of my head):
Giacchino replaces Desplat for ROGUE ONE: A STAR WARS STORY
Mark Mothersbaugh – THOR: RAGNAROK
Rupert Gregson-Williams – WONDER WOMAN
Junkie XL will NOT be scoring Deadpool 2
http://forums.ffshrine.org/forumdisplay.php?f=63
Back on topic! Personally I’m glad that Junkie won’t be returning for Deadpool 2. Hopefully they’ll be able to get a composer who writes music with character this time.
Plus if there’s a pre-made thread, like this one, people will be inclined to share news.
Then again, I think I would prefer anyone over Junkie XL, who I’m glad won’t score Deadpool 2!
I can’t even remember any music from the first movie, except for the songs.
Are you trying to take the General out of my Discussion? *wags finger* :laugh: (It’s a good idea, though.)
Junkie XL will NOT be scoring Deadpool 2
Wut!? The action wasn’t entirely to my liking, but the I really enjoyed the more subtle themes.
RGW has long been trapped in doing lame comedies, so I’m really excited for what he comes up for a film like this.
There’s definitely some RC influences, but it also reminded me of Horner in parts.
Of course the score would have been much better if Horner would have composed it himself.
I didn’t care for Tarzan at all, I have to say.
I really liked his score for Tarzan!
And you gonna like his score for Hacksaw Ridge.
Not sure how I feel about RGW doing WW. At least it’s RCP. Suicide Squad (and it’s crappy score) aside, DC is keeping in line with musical continuity – a term Marvel Studios does not know the meaning of.
———- Post added at 10:53 PM ———- Previous post was at 10:40 PM ———-
Speaking of RCP, Zimmer will be composing for a lofty film: Boss Baby.
https://media1.giphy.com/media/1Qdp4trljSkY8/200_s.gif
Nah. I think I have it worst. Having to sit next to the heavy internet-influenced students in school can be painful.
Ah…. John Powell? I’m trying to think of some other composer that score animated features more regularly. Harry Gregson-Williams may even be a possibility.
On another hand, T.J. Miller? I’m in. He’s hilarious.
It’s not just the memes: It’s the behavior that that really kills it for me. They’re so keen to thinking they rule the world that they get really pissy when the teachers actually try to control them. They don’t get in trouble as often as they should, and even we they do, they don’t learn shit! I can’t wait for life to beat the hell out of them once they try to actually get jobs. But, considering my luck and experiences I’ve seen, that might not even happen. They might never change.
Thank god I have teachers and friends there that I can talk to and care about.
I’m almost certain this is going to be one of those movies where the studio realizes two or three months before that it’s gonna tank at the box office. Would they waste money on a relatively high-profile composer like Jackman?
Eh, it’s Sony. Probably.
It’s not just the memes: It’s the behavior that that really kills it for me. They’re so keen to thinking they rule the world that they get really pissy when the teachers actually try to control them. They don’t get in trouble as often as they should, and even we they do, they don’t learn shit! I can’t wait for life to beat the hell out of them once they try to actually get jobs. But, considering my luck and experiences I’ve seen, that might not even happen. They might never change.
Thank god I have teachers and friends there that I can talk to and care about.
I’m not bothered by memes, I love a good meme. I’m bothered by the way some people can handle them; incorrectly.
And somebody making too much of a meme should not make it ‘uncool’ to like or laugh at any longer. That’s fucking stupid.
If I’m unlucky enough to come in on a meme late, well that’s just unfortunate.
I think they should lower their standards.
Make them 70 minutes movies.
No pressure for a story. Just extend the trailer.
So many movies get ideas that make the trailer, but ultimately fail to end the story.
The third acts suffer and I thank god I don’t go to theaters anymore.
John Powell, Henry Jackman, Mark Mothersbaugh, Christophe Beck, Dominic Lewis. Or hell, they may hire someone who’s not a film composer. Like Anthony Gonzalez/M83 (Oblivion – and for the love of God, I know M83 as a band didn’t write the score. Gonzalez wrote it with Joe Trapanese. But the band performed the song and participated in some of the scoring sessions), Daft Punk (TRON: Legacy), thenewno2 (Beautiful Creatures)….
‘Junkie XL not scoring Deadpool 2.’
Some salty comments might be:
‘…didn’t notice the score and have no memories of it… I think it’ll be OK. It’s not like we’re taking John Williams away from Star Wars…’
‘I don’t know why this person thinks his departure is remotely interesting enough to make a whole overwrought post about it on his Instagram.’
‘"I hope everyone understands.”? Dude, most people don’t even know who you are. No one cares.’
‘I made an instantly forgettable sound track to a movie and am now not going to be making a similarly forgettable soundtrack for the sequel. PAY ATTENTION TO ME!’
‘Good riddance then.’
For example. What you’d expect from the internet. And this is from only one article’s comments.
http://io9.gizmodo.com/the-deadpool-sequel-just-lost-its-composer-too-1788543150
Speaking of memes and shit kids these days do, what venerable composer do you think will tackle the modern masterpiece EMOJIMOVIE: EXPRESS YOURSELF?
No one with self respect, please :laugh:.
And to boot, his "name" is pretty much spot-on. Junk XL.. (an overhyped–or XLarge–version of his music, ahem "junk").
And to boot, his "name" is pretty much spot-on. Junk XL.. (an overhyped–or XLarge–version of his music, ahem "junk").
Been quite negative, haven’t you? Every recent post I’ve seen of yours is pretty critical (though still nothing like Skelly).
I can’t say much about JXL, other than I like his one remix of "Talk," (https://www.youtube.com/watch?v=QGQv5kvOgng) which isn’t what you’d expect out of something labeled "XL." (The KW sample is what probably makes it though).
John Powell has too much of decency to actually score for the Emoji movie, hopefully not, I think it’ll be someone who would accept the job no matter what. I think Christopher Lennertz is scoring the new Smurfs movie, though?
It IS a better looking Smurfs movie though. Fully animated with no live action Alvin and the Chipmunks bullshit.
To be honest, a lot of animated films just don’t look right. I’ve only really liked Pixar’s films.
I can’t say much about JXL, other than I like his one remix of "Talk," (https://www.youtube.com/watch?v=QGQv5kvOgng) which isn’t what you’d expect out of something labeled "XL." (The KW sample is what probably makes it though).
Well, if you’d stop pretending to be the Dr Phil of the forums, you wouldn’t trip over every post that you choose to see the negative in.
Seriously, move along!
In other news, no, I don’t care for JXL. So, I’d definitely rather see someone else take on Deadpool 2. David Kitay or James L Venable could be good choices, as they’ve
a knack at the spoofy music. 🙂
Some salty comments might be…
Wow, I agree with all of those guys.
———- Post added at 10:03 AM ———- Previous post was at 10:03 AM ———-
So, I’d definitely rather see someone else take on Deadpool 2. David Kitay or James L Venable could be good choices, as they’ve
a knack at the spoofy music. 🙂
+1 for Venable.
———- Post added at 10:16 AM ———- Previous post was at 10:03 AM ———-
I swear, I believe Sony Pictures just has… some sort of fetish and LOVES having box office failures because it’s like they LITERALLY are looking for it.
Ever since ASM2 it’s like every Sony film has been a disaster. It’s kind of amusing but also a little sad.
As for Hans Zimmer scoring The Boss Baby? Him, scoring such a simple movie like that? Nah.. he’ll score two or three cues of it, leave the rest of it to his trainees, and then get the credit.
I love Zimmer, right, but I’m seriously starting to notice how much this happens. He’ll just do the main theme or something but get equal credit. Sure, the main theme is very important, but you have to go to hans-zimmer.com to see who actually contributed.
Why would I ever say anything if I didn’t know what I was talking about?
I spoke from whatever poster was on the Wikipedia page. From afar, the animation looked entirely the same, but seeing it in action through these trailers, it’s not as bad as I thought. Looks more like VeggieTales. This is what they should’ve done in the first place. This is what Smurfs is. Still don’t really care, but its look is far better than the other films.
Seriously, move along!
Meh. At least it’s better than constantly attacking everything.
Seriously, where’s the fun in that?
I’m autistic. That should be a good enough explanation.
Are your parents bipedal?
Don’t you say that! My dad can’t use his legs right now, thanks to his fucking tumor!
A lot of things sure as hell make sense now though.
And after that, the next notch in his belt: The Armageddon! Maybe he’ll finally return to those halcyon days of Medal of Honor that George likes to go on and on about. The only bonus in it for us: it’ll be his last score. Unless Disney has got God in their pocket too.
This brings about a prediction in my head: you guys are going to hate Michael Giacchino regardless of whether or not he does a good score, aren’t you. ‘Cause that’s sure as hell what it’s been feeling.
It just occurred to me that Skelly, gururu, and others personify "I Hate Everything" than the actual man himself.
They’ve been a pretty bad influence.
———- Post added at 05:26 PM ———- Previous post was at 05:24 PM ———-
But recently he’s been turned into a machine designed to write the most superficial sorts of underscore.
More realistically: he’s getting tired of being worked to death on every single thing imaginable. Like Zimmer!
I don’t think so, but it’s possible. I warily say it’s possible.
Wait, whenever did you listen to Medal of Honor? Did you? Why didn’t anyone tell me.
No, I disagree. I think Disney has been forcing him to tame himself. Producers think the general audience is too stupid to enjoy mere background music and that it should be as expendable and unmemorable as possible. Unfortunately that reflects poorly on Giacchino himself.
Hello? Hollywood? What’s wrong with having a thematic, memorable film score? Like fucking seriously. Gods of Egypt I’m sure is some of the most thematic shit we’ve heard all year.
Rogue One is under Disney. It’s a Star Wars film. Hm? Once again, I have a good presentiment about this score.
Although I’m concerned of the amount of short time he’s been given. That may have a negative effect on the music (hopefully NOT)
I was legitimately interested to hear Desplat’s take on a Star Wars score. Though I don’t imagine him working with big and loud militaristic music like Star Wars is partly-known for. Giacchino’s done a lot of music like that.
———- Post added at 07:50 PM ———- Previous post was at 07:47 PM ———-
Williams’s style will have to be impeccably emulated, because that’s what they want.
Well, Medal of Honor was a near perfect emulation of Williams’ Indiana Jones scores, and some other various things here and there. Let’s see how he does on the Star Wars side of the – holy shit that’s no moon that’s a space station.
Or worse, was he caught writing similar material for both movies?
Wolfman could have been so much more than a repeat.
I swear, even with the extra music Conrad Pope did for the movie, when you watch the movie, all you hear is a half hour OST on repeat.
Is it one that has been confirmed, though?
That’s Goldmith, right? That guy could pump out scores like no other.
Is there a source that confirms the incident to be true?
The only supernatural force I believe in.
What are some great scores of his to start off with if I want to get Goldsmithitis?
Chinatown? I’m sure that’s a good one. The Omen is fantastic as well. Some of the best choral music you’ve ever heard. Bold and Brash.
Nothing too sprawling. Let’s start off with some relatively small ones first.
My only real Goldsmith listening has been Tora!x3
The Omen. Definitely The Omen if you’re a horror buff.
Total Recall is a hoot. I love watching the movie for its opening titles. The movie is exciting and the score really helps it.
I have a soft spot for The Shadow. Terrific hero themes and nice jaunty action cues. The Mongolian cues are superb.
Star Trek First Contact is definitely a must! All of it. His son helped out on that one, too.
The Ghost and the Darkness has some nice horror cues, mystery, thriller and very fun ethnic themes. That movie badly needs a bluray upgrade.
Congo, for that matter, is another fun score that jumps around.
I watched those movies on VHS to death.
Air Force One kicks so much ass. You need to watch that movie in theaters to get the full grasp of its patriotism. I’m Canadian but I was still feeling very patriotic for Harrison Ford.
For LA Confidential, that’s one you need to watch the movie first and then listen to the score.
It’s a presence onscreen as much as the actors and they flow so seemlessly you’ll be happy to get your hands on the Japanese bluray that has the iso score.
Definitely don’t skimp out on The Mummy. Get into that before the Tom Cruise reboot/remake comes out. Get in touch with the origins first.
The Haunting was nice and light horror. It wasn’t nearly as extreme as The Omen. But still worth a shout.
The 13th Warrior! A definite must!
Listen to it, watch it, any order. You can’t lose with that.
For so many gaming nights playing RTS games, controlling armies and building armies, I’ve never felt so enthralled by the games as when Goldsmith played while gaming.
Oh and Legend. Not the Tangerine Dream album, but the Goldsmith album. That one always awakens memories in me.
Gremlins is nice.
For Star Trek The Motion Picture, I highly recommend watching it first and then listening to it later.
And then watch all the movies and then watch the TOS so you think on some of the movies and go "oh!"
I’ve been meaning to listen to that score!
Sure.
Retail album to ST First Contact and then just go away.
I’ll take a look at ’em sooner or later! 😀
In Harm’s Way
The Sand Pebbles
The Blue Max
Planet of the Apes* (though best heard in its entirety)
Wild Rovers
Patton*
Papillon
Chinatown*
QB VII
The Wind and the Lion*
Logan’s Run
The Omen*
Capricorn One*
The Swarm
The Boys From Brazil
Alien*
Star Trek: TMP* (though best heard in its entirety)
Masada
First Blood*
Secret of NIMH*
The Final Conflict*
Poltergeist*
Twilight Zone: The Movie
Under Fire*
Legend (though best heard in its entirety)
Total Recall*
Basic Instinct*
Hollow Man
* must haves in any Goldsmith collection
Action Adventure Oriented (since he was the king of action adventure):
Take a Hard Ride
Rambo: First Blood, Part 2*
Supergirl
Extreme Prejudice
Air Force One
US Marshals
Congo
The Mummy
Then there’s intruiging compositional stuff like:
Freud
Seconds
The Illustrated Man
Mephisto Waltz
Coma
Fun stuff like his Joe Dante work:
Gremlins
Explorers
Innerspace
The Burbs
Looney Tunes: Back in Action
Listen to any one of those and then put on a Giacchino… just feel your brow sag in despair at the want of talent.
NP: Bronco Bustin’ from The Wild Rovers
Especially the ones best heard in their entirety.
His older scores before the 80’s are nice to play and sit back and listen to. Capricorn One is especially nice.
And somebody making too much of a meme should not make it ‘uncool’ to like or laugh at any longer. That’s fucking stupid.
If I’m unlucky enough to come in on a meme late, well that’s just unfortunate.
I’m more rather bothered when the "normies" get a hold of a meme and just completely kill it and run it into the ground, like they did with the Harambe meme (which tbh, is the worst meme since Caitlin Jenner) and turning Spongebob into a meme farm (e.g. Spongegar, "Oh Neptune"). Or when someone gets offended by a meme, like really? Although, let’s be honest, people get offended by anything that moves or breathes these days in 2016.
I should take heed of this list and collect each score over time (or all at once! :p)
———- Post added at 10:33 PM ———- Previous post was at 10:29 PM ———-
Listen to any one of those and then put on a Giacchino… just feel your brow sag in despair at the want of talent.
WARNING: This statement does not pertain to any one of Michael Giacchino’s scores under the brand name Medal of Honor™. :laugh:
…And perhaps some others that may go unnamed.
———- Post added at 10:35 PM ———- Previous post was at 10:33 PM ———-
Capricorn One is especially nice.
That’s another one I forgot about! A couple months ago, gururu linked to a cue from the film and I remember really liking it.
For Williams, just a few of his blockbuster films.
Indiana Jones, Star Wars, ET, Jaws.
That’s the highlight of his redunancy.
2011 was refreshingly pleasant.
Williams makes for a nice introduction.
Goldsmith and Horner is where it’s at. 😉
———- Post added at 08:44 PM ———- Previous post was at 08:43 PM ———-
Looking back, I was more into Goldsmith than I ever was Williams.
For Williams, just a few of his blockbuster films.
Indiana Jones, Star Wars, ET, Jaws.
That’s the highlight of his redunancy.
2011 was refreshingly pleasant.
Williams makes for a nice introduction.
Goldsmith and Horner is where it’s at. 😉
Planet of the Apes (https://www.youtube.com/watch?v=a1rq6NoddX0) (complete)
Patton (https://www.youtube.com/watch?v=mu11QRO9BrQ)
Coma (https://www.youtube.com/watch?v=d3VtdGo_z5A)
Alien (https://www.youtube.com/watch?v=P4F8WIXASoo) (complete)
Star Trek: TMP (https://www.youtube.com/watch?v=XjlBXmn2Q0s) (complete)
The Final Conflict (https://www.youtube.com/watch?v=TJCHGTXndc4) Turn up to 11!
Under Fire (https://www.youtube.com/watch?v=N3gXIB7iPAQ)
Rambo: First Blood II (https://www.youtube.com/watch?v=3LzMQcrkUE4) Turn up to 11! This is how you write action, Little Mickey.
The Burbs (https://www.youtube.com/watch?v=6NARkfk1xCM)
Basic Instinct (https://www.youtube.com/watch?v=47JnMdKJza0)
Not a lot of people like it but I find it the second best movie after TWoK.
For Williams, just a few of his blockbuster films.
Indiana Jones, Star Wars, ET, Jaws.
That’s the highlight of his redunancy.
2011 was refreshingly pleasant.
Williams makes for a nice introduction.
Goldsmith and Horner is where it’s at. 😉
There are a lot of a Williams scores I’ve never heard. Of course… I know Star Wars, and Indiana Jones, and Jaws, but even for those I’ve recently started to re-realize their finesse. There’s also a great number of the well known films that Williams has done that I’ve not heard (Close Encounters of the Third Kind, 1941, E.T. Hook, etc). Plenty of work to do there.
As for Horner and Goldsmith; even more so! I’ve got some digging in to do for their repertoire. A great deal of. It’s gonna be a blast. And I almost forgot to mention Giacchino. Still a majority of his film scores I’ve not heard, and since I’ve seen John Carter well spoken of, I thought to give that one a go, and it’s pretty decent!
Planet of the Apes (https://www.youtube.com/watch?v=a1rq6NoddX0) (complete)
Patton (https://www.youtube.com/watch?v=mu11QRO9BrQ)
Coma (https://www.youtube.com/watch?v=d3VtdGo_z5A)
Alien (https://www.youtube.com/watch?v=P4F8WIXASoo) (complete)
Star Trek: TMP (https://www.youtube.com/watch?v=XjlBXmn2Q0s) (complete)
The Final Conflict (https://www.youtube.com/watch?v=TJCHGTXndc4) Turn up to 11!
Under Fire (https://www.youtube.com/watch?v=N3gXIB7iPAQ)
Rambo: First Blood II (https://www.youtube.com/watch?v=3LzMQcrkUE4) Turn up to 11! This is how you write action, Little Mickey.
The Burbs (https://www.youtube.com/watch?v=6NARkfk1xCM)
Basic Instinct (https://www.youtube.com/watch?v=47JnMdKJza0)
The Rambo cue is decent. It’s reminding me of Revell’s Big Red One and Horner’s Enemy at the Gates… even The Last Crusade’s "On the Tank" at many points.
———- Post added at 11:35 PM ———- Previous post was at 11:34 PM ———-
You only really need one Williams score: The Empire Strikes Back.
Oh boy, you’re really missing out on a lot by just keeping that score. I’d never. :p
———- Post added at 11:38 PM ———- Previous post was at 11:35 PM ———-
gururu, The Final Conflict is heavenly.
But yes, I can agree that The Empire Strikes Back essentially consummates of his talents and capabilities.
Pretty much :this:
The Prequel trilogy can be covered by a compilation album.
Battle Over Coruscant is super hard to find in true lossless in its entirety.
Most bootlegs of the complete have started out as pure lossy and then some rehashed edits and preserved in fake lossless to metigate further loss of data.
ROTS was fun for a theatrical experience because after the crawl, all you hear is a nice solid percussion invading the screen before the space battle explodes on the screen.
And the first Harry Potter.
That is a very meaty and colorful score.
Or are you stating that they are indeed Facts ?
———- Post added at 09:40 AM ———- Previous post was at 09:39 AM ———-
Those are all Opinions, ‘though.
Or are you stating that they are indeed Facts ?
You took the words right out of Ponyo’s mouth!
Or are you stating that they are indeed Facts ?
Do you actually read what other’s write before going off on one of your hectoring tangents, Man?
"I regard". The answer is right there in those first two words. Sheesh!
"I regard". The answer is right there in those first two words. Sheesh!
Wasn’t only referring to that one Post, or i had quoted it.
There’s a lot of Stuff from you in this Thread.
It just doesn’t work like that.
(https://postimg.org/image/x6uhscyzv/)
Ooh, interesting. I see RCP permeates into Netflix now as well.
Edit: ^I take that back. It’s probably unfair to group every composer with RCP even if they worked with them years ago. Trevor is his own composer now.
On 19 October, the World Soundtrack Academy announced the winners of the 2016 World Soundtrack Awards in Capitole, Ghent. Film Fest Gent celebrated its 16th edition of the World Soundtrack Awards by focusing on television scores. Brussels Philharmonic and the Flemish Radio Choir performed scores from the most beloved television shows in recent history, conducted by Music Director Dirk Bross???.
Sabam Award
S???ndor T???r???k
Best Original Score for a Belgian Production
‘Cafard’ by Hans Helewaut
Best Original Song written directly for a Film
‘None of Them Are You’ from ‘Anomalisa’
music & lyrics by Carter Burwell & Charlie Kaufman
Discovery of the Year
Joe Kraemer for ‘Mission: Impossible – Rogue Nation’
Public Choice
‘Carol’ by Carter Burwell
Television Composer of the Year
Jeff Beal
Film Composer of the Year
Carter Burwell
Lifetime Achievement Award
Ryuichi Sakamoto
Yeah, that’ll be interesting to hear!
———- Post added at 09:55 AM ———- Previous post was at 09:54 AM ———-
Public Choice
‘Carol’ by Carter Burwell
Good choice!
here’s a sample
Okay, that made me laugh. Kudos.
Good choice!
Philip Glass should have gotten that award.
Brian Tyler has also on his hands several projects for 2017, Power Rangers, Fast & Furious 8 and a new version of The Mummy-
Those pretty much fit his generic auto-tune style
What!?! Something we agree on? Christ, where’s my valium…
It seems that Marvel enjoyed his Dr. Strange
Waiting for his soundtrack release of Rogue One: A Star Wars Story on December 16th, on which he replaced Alexandre Desplat
Pre-orders: https://www.amazon.com/gp/product/B01LY2IX2D/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&tag=filmusrep-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B01LY2IX2D&linkId=9b30e31ede7cc0f7b497c5ea1f399174
Future projects: War for the Planet of the Apes, The Incredibles 2 and The Book of Henry
It just doesn’t work like that.
I am open to Opinions, and i don’t care if they are similar to mine or not.
It’s how People bring them across.
I don’t give two Shits about anyone’s Opinion on here, and i know the Feeling is mutual.
It seems that Marvel enjoyed his Dr. Strange
Like we said earlier, Disney wants him on all their projects. They think his name brings interest to them.
Pixar, Marvel, Star Wars, even stuff like Zootopia – he has a hand in all their baskets.
I know right? Fuck, this deserves a celebration! It’s a rare, once in a while occasion! Where’s the alcohol? Bring me the best you have!
I’m eh about Brian Tyler, I don’t hate him, there’s some rare exception in his scores that I like some cues, tunes, but.. overall his scores sound really really generic, lacking real music, at least lately. More like something to accompany the film and have music score collectors hoard for.
———- Post added at 09:17 AM ———- Previous post was at 09:16 AM ———-
Michael Giacchino will score the next year’s Spider Man: Homecoming.
It seems that Marvel enjoyed his Dr. Strange
Waiting for his soundtrack release of Rogue One: A Star Wars Story on December 16th, on which he replaced Alexandre Desplat
Future projects: War for the Planet of the Apes, The Incredibles 2 and The Book of Henry
I think it’s more that movie studios are starting to think of him as the next Hans Zimmer. They know his name sells lots of scores among collectors.
That’s nice but I think this will be bad for him at the long end because it’s gonna make his scores be too much heard, and they are all gonna start sound bad eventually for his own tireness.
He probably will have to, and not because of tiredness, but also because his music will be hurt by all of this. Eventually his scores are gonna sound generic, too, almost lifeless, because it’ll be a rutine.
You guys know how I like John Powell, though i’m not a HUGE obsessed with him, I love his animated scores and a few other, I love his style, but you don’t see me defending. I don’t own all of his scores either (not even pirated)..
TLDR; i wanna see john powell do more movies.. but something out of the ordinary, not just animated movies even though he does best at them. I want him to do music
———- Post added at 08:51 AM ———- Previous post was at 08:40 AM ———-
I don’t know why, but Brian Tyler and Michael Giacchino are who I look up to most when it comes to film composition.
Association process. You probably quite enjoy(ed) the films their music accompanied. Which isn’t really any different from myself, other than I’m of another generation of film making and film music composers (with broader musical education and scoring experience(s) under their belts).
No way this will happen, as it as said, Giacchino has only simple cues, as if the movie were to be re edited the score itself is not affected.
Williams is more symphonic and his melodies follow the structure of the movie. A re edition of the movie and the score is affected.
Someone said this, can’t remeber where or who
———- Post added at 04:19 PM ———- Previous post was at 04:17 PM ———-
I like Brian Tyler’s The Hunted
I won’t say that some of his (film) scores haven’t sounded boring, and / or generic, but… Goddammit he still has great potential to put forth one of the best scores we’ve heard from him since Airborne in ’07, I tell you. Goddammit.
George will be the last to go down with the ship…with one of those Medal of Honor scores piping over the PA system.
HELL YEAH!
Which score?… nah, there’s too many to choose from. But it will piping over the PA system, I’m talkin’ Rjuken Sabotage.
You guys know how I like John Powell, though i’m not a HUGE obsessed with him, I love his animated scores and a few other, I love his style, but you don’t see me defending. I don’t own all of his scores either (not even pirated)..
Was that statement referring to me?
———- Post added at 01:52 PM ———- Previous post was at 01:48 PM ———-
I think the best Giacchino’s are in Pixar’s.
Mostly true.
I think the best Giacchino’s are in EA Games.
100% fucking true. They just show what he’s really capable of.
A rejected score album would be divine for that.
I don’t know why they don’t just make it a thing for composers to do rejected albums.
Plus it reflects poorly on the studios and even the composer.
WB wouldn’t even let Gabriel Yared post ‘Troy’ on his website.
I’m not, but I’m really looking forward to seeing how well Giacchino can emulate Williams’ STAR WARS style… as I’ve said before, he’s already nailed down the Indiana Jones style with the Medal of Honor scores.
Considering that the director has stated several times that John Hughes is a big influence on this movie, I can’t imagine Giacchino doing something jazzy (like the old shows)so maybe something more intimate, like how James Horner composed for Amazing Spider-Man? Or somewhere in between?
edit: confirmed by Giacchino himself: https://twitter.com/m_giacchino/status/795304910782742528
1. South Pacific (0:35)
2. The Beach (1:27)
3. Project Monarch (2:02)
4. Packard???s Blues (1:14)
5. Assembling the Team (1:48)
6. Into the Storm (2:44)
7. The Island (1:16)
8. Kong the Destroyer (3:43)
9. Monsters Exist (2:27)
10. Spider Attack (1:39)
11. Dominant Species (2:00)
12. The Temple (5:47)
13. Grey Fox (2:33)
14. Kong the Protector (1:49)
15. Marlow???s Farewell (2:37)
16. Lost (1:27)
17. The Boneyard (1:52)
18. Ambushed (2:21)
19. The Heart of Kong (2:11)
20. Man vs. Beast (2:31)
21. Creature from the Deep (2:44)
22. The Battle of Skull Island (5:46)
23. King Kong (2:42)
24. Monster Mash (Bonus Track) (1:27)
…. and Beltrami’s LOGAN:
1. Main Titles
2. Laura
3. The Grim Reavers
4. Old Man Logan
5. Alternate Route to Mexico
6. That’s Not a Choo-Choo
7. X-24
8. El Limo-nator
9. Gabriella’s Video
10. To the Cemetery
11. Goodnight Moon
12. Farm Aid
13. Feral Tween
14. Driving to Mexico
15. You Can’t Break the Mould
16. Up to Eden
17. Beyond the Hills
18. Into the Woods
19. Forest Fight
20. Logan vs. X-24
21. Don’t Be What They Made You
22. Eternum / Laura’s Theme
23. Logan’s Limo
24. Loco Logan
25. Logan Drives
Tho’ts?
Tho’ts?
Here is a little clip of the score from Logan(shared by the director):
https://twitter.com/mang0ld/status/819986213683638272
It does sound a little haunting, scary and dark, doesn’t it? Like it’s more grounded than the other movies in the X-Men Universe.
Just wait ’til Giacchino is announced as composer for the Han Solo movie lol.
PLEASE NO.
I don’t know; I kinda understand what you’re getting at, like, it’s just fillers for the movie experience without any substance,(and you’ve heard some of same pattern/build ups before, like he’s writing scores too similar to other composers like Jerry Goldberg) but there are exceptions to the rule.
I do get some of the false grandiose feeling you mentioned above by listening to the score from "Jupiter Ascending".
But I did enjoyed his work the tv show Lost and the movies "Inside Out" and "Doctor Strange".
If anything, I think that he breathed new life to the musical part of the MCU in the latter movie.(at least compared to some of the other movies)
Whether you’re a fan or not, that might at least mean there will be SOME kind of continuity to their MCU scoring 😉
I’d rather have Giacchino.
Not really a surprise, he scored Ryan Coogler’s other movies.
Creed was great so I’m looking forward to this.
Or because he’s scoring Black Panther, should we say… Ryan COUGAR!!!!!!!!!!
I’ll see myself out.
Thought you mentioned the guy who did the Arrival and other lousy scores.
I just need Giacchino not to replace John Williams for Ep IX. Not even if the master tragically dies before writing a single note for the film.
Blake Neely to Score Greg Berlanti’s ‘Simon vs. The Homo Sapiens Agenda’
Atli Orvarsson Scoring ‘The Hitman’s Bodyguard’
Alexandre Desplat Scoring Roman Polanski’s ‘Based on a True Story’
Harry Gregson-Williams Scoring Simon Baker’s ‘Breath’
there’s an interview on GQ, http://www.gq.com/story/junkie-xl-hollywood-composer, where after the interview was published, a representative for Tom Holkenborg wrote to clarify that he is not working on Godzilla: King of the Monsters.
———- Post added at 07:03 PM ———- Previous post was at 07:02 PM ———-
Holkenborg also has Justice League and The Dark Tower coming up later this year.
Really disappointed Dougherty’s usual collaborator Douglas Pipes wasn’t allowed along, as he’s a great composer. This reeks of studio interference.
Harry Gregson-Williams (because of Ben Affleck)?
Junkie XL (because of BvS and Justice League)?
Or… Michael Giacchino (because of Matt Reeves)?
I hope they’ll announce it soon. The wait is killing me.
Hope you have a lot of patience, because that movie is on the verge of going into development hell. Good riddance.
So, it won’t be different to any other recent DC movie.
The last I heard, the film was reportedly undergoing a complete rewrite so it will be a while before the studio begins to consider composers but earlier tonight Heroic Hollywood Founder and editor-in-chief Umberto Gonzalez revealed that Bruce Wayne himself, Ben Affleck has begun training for his third outing as the Dark Knight on Heroic Rebirth, the second season premiere of Heroic Insider.
As for Giacchino, he has become one of the most sought after and busiest composers in the entertainment industry so it would seem likely that his name will come into the mix when Warner Bros. begins to eye composers for the job but what do you think? Do you think Giacchino would be a good fit for The Batman?
🙂
Oh noes! My trigger words. http://i.imgur.com/es2Vgmo.gif
So, it won’t be different to any other recent DC movie.
I’m confident about a good flow of the production of the film. Yes, it had huge problems as for the writing and the director, but now that the latter is chosen, things are finally moving, and once they’re done, they’ll stay still until the end. I hope.
Matt Reeves is a good director (and I’m so glad that he, as well as James Wan, have been choosen for the DCEU), I don’t see them having more trouble with the production.
Skelly, I need to be patient only because the film is in early production… I think they’re revisiting (for the last time) the script so that WB, Affleck, Terrio, Johns and Reeves are all happy with it.
———- Post added at 10:44 PM ———- Previous post was at 10:40 PM ———-
I really hope WB will convince Reeves not to assume Giacchino, for the sake of musical continuity, and that they’ll hire Harry Gregson-Williams, Junkie XL or someone that can take the Zimmer-Junkie Xl Batman theme and use it in the score.
Alan Silvestri is currently writing the score for Infinity War, and the recordings are going to start in January 2018.
This means Giacchino isn’t going to replace him.
For now…
Not a good sign, especially when the new release date for the film is December 20.
Not a good sign, especially when the new release date for the film is December 20.
Not a good sign because Jackman has gone generic lately and James Newton Howard is fucking fantastic.
I mean, did you even hear his work on Fantastic Beasts? That guy is awesome! Also, I’m not one for language… hence why I censored your quote above. However, you are absolutely correct on Howard. 🙂
Specially for fantasy or family oriented films.
Every composer has their specialties..
Not a good sign, especially when the new release date for the film is December 20.
When I discovered this, my interest in this movie disappeared becuase Newton Howard was one of the main reasosn I wanted to see this movie. His music in fantastic-action movies is amazing. Just listen to Fantastic Beasts, King Kong or Maleficent. Let’s hope that Jackman does not deliver another boring score like in Kong Skull Island
I wonder if Joss Whedon will change the composer for Justice League… What do you think?.
I hope this not happens. Junkie XL seems a good fit to keep the musical continuity of the DCEU and Whedon would probably bring someone like Alan Silvestri and honestly, for me his scores for Marvel are bland and a bit boring and repetitive with the only good thing bein the main theme. At least Junkie could bring back all the themes from the previous movies. Let’s wait and we’ll see…
I think "Yeah".
Danny Elfman is the one replacing Junkie XL.
http://screencrush.com/danny-elfman-justice-league/
Danny Elfman is the one replacing Junkie XL.
http://screencrush.com/danny-elfman-justice-league/
wtf… are they TRYING to eliminate the one advantage they had over Marvel?!
I agree. When I decided to watch the new version of Spider-Man 3, they used the original music that Christopher Young had made for certain scenes instead of the Elfman tracked music used in the theatrical version. While this makes it less connected to the previous films scores, it still managed to work fine on its own. Heck, I think it works even better, since the material is that strong as is. It certainly helped give me a better appreciation of the film itself, even with all its flaws.
So really, as long as the material is strong, it shouldn’t be too much of a concern.
True, I just wish they’d have some consistency in some capacity. The DCEU films are incredibly disjointed.
I know the DCEU is still in its infancy but the only two themes its produced were written by one man – the man – Hans Zimmer, whose ability to write ‘power themes’ which resonate even with normies is both a talent of his and also an allowance because of his reputation. I don’t think Junkie, a man who prefers his music to be a tangled web of plain synth, would have been able to write (again, as a matter of talent and/or allowance) something on that level. Zimmer is done with capeshit films because it’s the same thing he was doing a decade ago with Nolan Batman. He left the DCEU with only two big power themes to propel its "musical continuity" meme that people fell for: the MoS theme and "Is She With You?".
Musical continuity is not often a mandate from higher-ups. No one at Marvel cares about it. The only time it happens there is when the same director hires the same composer to score the same character (albeit Brian Tyler inserted a couple previous themes merely as easter eggs). Same goes for DC. Zack Snyder hired Hans Zimmer twice and asked him to use the MoS theme twice. Now Snyder is gone from the DCEU – probably forever since his two films have been stinkers – and other directors are hiring other composers who want different things. I would guess that there aren’t many composers out there who are willing to write wallpaper music for a big-budget film which is to be sandwiched between recycled Zimmer material. Why would the director and composer for Aquaman want to use whatever Junkie XL might have happened to churn out for the character in JL?
And I know some smartass is going to say that Wonder Woman’s theme was used in both BvS and WW, so that must mean that there is musical continuity on the minds of DC producers! No, I think that it was just a very well-selling track.
I don’t think so. If I remember it correctly, it was just some generic music during his scenes.
In other news, Christophe Beck has been confirmed by director Peyton Reed that he will be scoring the second Ant-Man movie.
https://twitter.com/MrPeytonReed/status/878458767486193665
But I also have a very bad feeling about Justice League.
I’m 100% sure that Elfman will bring a couple of epic themes into the film (as usual with his blockbuster scores) and that his music will bring a lot of fresh air into the DCEU, which should also fit with the "tonal twist", more hopeful and lighter, that Justice League is talked to have. What I’m afraid for is the general feeling it will bring: though Joss Whedon is doing additional filming and finishing the post-production, at least 90% of the film will be still Snyder’s material… and Elfman IMO does not fit with Snyder’s style of doing action, epicness and imagery in general.
I’m afraid that the music that will be in the action pieces will be totally weird compared to the previous films, and that Elfman won’t reprise any of the previous themes done by Hans Zimmer, Junkie XL and Rupert Gregson-Williams. Being a totally different composer, I fear there will be a big feeling of estrangement due to the score.
I’d be in peace if Joss Whedon would take someone (Junkie XL himself or even Rupert Gregson-Williams) to work on the action scenes and insert the previous themes once in a while… Just like the collaboration between Hans Zimmer and James Newton Howard for Batman Begins and The Dark Knight. That would be perfect.
Anyway, I hope so much to be proven wrong by the final product.
In any case, my interest in the film dropped by at least 50%.I’m so happy for Christophe Beck coming back for the Ant-Man sequel!
But I also have a very bad feeling about Justice League.
I’m 100% sure that Elfman will bring a couple of epic themes into the film (as usual with his blockbuster scores) and that his music will bring a lot of fresh air into the DCEU, which should also fit with the "tonal twist", more hopeful and lighter, that Justice League is talked to have. What I’m afraid for is the general feeling it will bring: though Joss Whedon is doing additional filming and finishing the post-production, at least 90% of the film will be still Snyder’s material… and Elfman IMO does not fit with Snyder’s style of doing action, epicness and imagery in general.
I’m afraid that the music that will be in the action pieces will be totally weird compared to the previous films, and that Elfman won’t reprise any of the previous themes done by Hans Zimmer, Junkie XL and Rupert Gregson-Williams. Being a totally different composer, I fear there will be a big feeling of estrangement due to the score.
I’d be in peace if Joss Whedon would take someone (Junkie XL himself or even Rupert Gregson-Williams) to work on the action scenes and insert the previous themes once in a while… Just like the collaboration between Hans Zimmer and James Newton Howard for Batman Begins and The Dark Knight. That would be perfect.
I hope so much to be proven wrong, but I have little hope actually.
Anyway, my interest in the film dropped by at least 50%.
But I also have a very bad feeling about Justice League.
I’m 100% sure that Elfman will bring a couple of epic themes into the film (as usual with his blockbuster scores) and that his music will bring a lot of fresh air into the DCEU, which should also fit with the "tonal twist", more hopeful and lighter, that Justice League is talked to have. What I’m afraid for is the general feeling it will bring: though Joss Whedon is doing additional filming and finishing the post-production, at least 90% of the film will be still Snyder’s material… and Elfman IMO does not fit with Snyder’s style of doing action, epicness and imagery in general.
I’m afraid that the music that will be in the action pieces will be totally weird compared to the previous films, and that Elfman won’t reprise any of the previous themes done by Hans Zimmer, Junkie XL and Rupert Gregson-Williams. Being a totally different composer, I fear there will be a big feeling of estrangement due to the score.
I’d be in peace if Joss Whedon would take someone (Junkie XL himself or even Rupert Gregson-Williams) to work on the action scenes and insert the previous themes once in a while… Just like the collaboration between Hans Zimmer and James Newton Howard for Batman Begins and The Dark Knight. That would be perfect.
I hope so much to be proven wrong, but I have little hope actually.
Anyway, my interest in the film dropped by at least 50%.
My biggest problem with this is not that Elfmn cannot handle a project like this. he can create great and epic melodies like the Batman one or Spiderman, but that he, in the last ten years or so, has not created anything, we could say, memorable. He has been lately very generic. And the other thing is that I don’t think his style fits in the style of the DCEU and the visual style of the movies but maybe Whedon has changed many things and that’s why he hired a new composer or something like that. I think that even someone like James Newton Howard, for example, could fit better in this universe.
We have to wait and see what happens, but my interest in this movie, also dropped down a lot after the recent changes, specially this one.
He’s just being ‘le goofy nerd boy’. If it is indicating something, it’s probably just some relatively minor Alien product (i.e. not a full film).
I’d love to see Harry Gregson-Williams, Marc Streitenfeld or Marco Beltrami to score (if it’s going to happen) the next Alien movie.
For fuck’s sake, this guy needs a serious break.
For fuck’s sake, this guy needs a serious break.
No, I hope he’ll NOT score an Alien movie! He need a break and he honestly doesn’t fit with the franchise. There’s already a long list of deserving composers for an Alien movie.
http://filmmusicreporter.com/2017/07/26/john-powell-to-score-han-solo-movie/
http://filmmusicreporter.com/2017/07/26/john-powell-to-score-han-solo-movie/
This is great news! I was hoping it would be Hans Zimmer because of Ron Howard being the director, but this is just as exiting!
Anyway, John Powell is a great choice! His score for "How To Train Your Dragon" is simply masterful, and I can’t wait to hear what he’ll do for a Star Wars-related film! 😀
I didn’t know he was already in talks. I thought the previous directors would go for their usual collaborator Mark Mothersbaugh, and since he’s scoring Thor: Ragnarok (unless he gets replaced at the last second) I thought Disney would let him do Han Solo as well.
Anyway, Powell is a great choice!
Added point: I also don’t believe Hans Zimmer’s style is suitable to Star Wars whatsoever. He hasn’t ever demonstrated that it is, at least. It’s just not something I see him ever doing. If you’re talking about composers who have never written music for a Star Wars film, try, for example, Joel McNeely, Christopher Lennertz or, even better, Lennie Moore.
Added point: I also don’t believe Hans Zimmer’s style is suitable to Star Wars whatsoever. He hasn’t ever demonstrated that it is, at least. It’s just not something I see him ever doing. If you’re talking about composers who have never written music for a Star Wars film, try, for example, Joel McNeely, Christopher Lennertz or, even better, Lennie Moore.
How about Chris Huelsbeck? He’s done a TON of the SW VGM scores, so he "could" do a decent job on this one. Or maybe even the likes of Jared Emerson-Johnson.
Anyway, John Powell is a great choice! His score for "How To Train Your Dragon" is simply masterful, and I can’t wait to hear what he’ll do for a Star Wars-related film! 😀
People underestimate his work for Mr & Mrs Smith too, imo. I love that score. Very broad, powerful and sometimes playful cues 🙂
Yeah, Huelsbeck could definitely do it as well. Or Gordy Haab; I’ve heard some really excellent Star Wars music for the Battlefront game(s) on his Soundcloud that clearly demonstrate his capability for something of this worth.
Not sure how to feel about it.
Benjamin Wallfish is a very good composer (I’ve only heard his work on A Cure for Wellness, and he was great). Not sure if Zimmer is a good choice. I guess he was chosen for the more action stuff of the film.
I’m not very worried that he won’t do a bad job (when it’s required, Zimmer can do softer music as well, not only bombastic & loud action music). I hope they’ll fit well with both Johannsson’s music and Vangelis’ score of the original film.
I hope it won’t end up like Ghost in the Shell regarding the release of the score.
And they’ll do good, hell, even better than Johannson would have. Zimmer is good with the synth stuff.
But at least we have a great director and Zimmer and Wallfish are good composers as well.
http://filmmusicreporter.com/2017/07/26/john-powell-to-score-han-solo-movie/
This are very good news. Powell has a lot of talent and I hope he will be able to shine in here. I cannot wait!
Apparently, Hans Zimmer and Benjamin Wallfisch will co-compose Blade Runner 2049 with Johann Johannsson- the project was too big for Johann alone.
http://heroichollywood.com/blade-runner-2049-score/
Also good new for me. I don’t know if Wallfisch has ever handle that electronic sound this music should have but Zimmer will sure provide some very good stuff. Another one to the "cannot-wait" list.
https://www.bleedingcool.com/2017/07/21/surprise-supercool-superhero-music-panel/
Here is a snippet from the article which I find very interesting:
"The composer talked about how he traveled to Senegal and South Africa recording local musicians to form what he called the “base” of his score for the movie. G???ransson played about 45 seconds of this “base” score, which contained a several musical instruments that I didn’t recognize with a very distinct, almost conversational sound. If the final score was, in fact, inspired by this music, we can likely expect that it will differ somewhat from the traditional “heroic” scores we are used to."
Thank God.
And as for recent MCU scores I already can’t stand having Giacchino’s Spider-man without an epic, iconic theme like all his predecessors (especially Elfman). And unfortunately there wasn’t that much great score in Guardians of the Galaxy – Vol.2 though Bates reprised his themes.
And as for recent MCU scores I already can’t stand having Giacchino’s Spider-man without an epic, iconic theme like all his predecessors (especially Elfman). And unfortunately there wasn’t that much great score in Guardians of the Galaxy – Vol.2 though Bates reprised his themes.
The best part of GotG 2’s score was the comical little statement of the main motif when Mantis first displays her powers. Everything else was kind of blah.
I kinda get what you’re saying. We’ve talked about the "marvel symphonic universe" thing earlier in this thread, and how most of the scores unfortunately blend into each other. Maybe they’re doing it to make it easier when A.Silvestri steps in to compose a score made up of all the other themes?
One of the conclusion from the "Marvel symphonic universe" video is that Marvel is playing it safe by using temp music to fill out moments that doesn’t need it, using sounds where it doesn’t need it and most importantly:
They’re not taking a risk.
That could change with Ludwig G???ransson’s "Black Panther" or maybe Mark Mothersbaugh’s "Thor:Ragnarok".
But from GotG Vol.2 there were some interesting tracks that I liked. Some of them even had some call-backs/hommages to the other composers in the MCU.
Take, for example, the end of "Two-Time-Galaxy Savers" had a Danny Elfman-vibe due to the clear trumpets and the marching band-drums.
"Groot Expectations" was sorta like C.Becks’ Ant-Man score.
"Dad" was kinda the peak on the "Father-theme" that you heard during Star-Lord’s interaction with Ego.
"A Total Hasselhoff" was a nice, quiet moment in an otherwise spectacular(in size) score.(The track wasn’t as nice as "Losers" from vol.1, though)
But the track that stood out best for me was "I Know Who You Are". The eerie mood that starts the track and develops into this fantastical ending.
I gotta say that this is my favorite track from the score.
Unless it’s John Williams or John Powell.
Or James Newton Howard, when he’s given time and he’s willing to. And a couple of others composers we’re leaving behind.
In reality it’s the fault of the producers demanding that kind of music rather than the composers, although there are a couple of.. "stinky" ones, in my opinion.
In reality it’s the fault of the producers demanding that kind of music rather than the composers, although there are a couple of.. "stinky" ones, in my opinion.
Oops… forgot about him.
That’s good news! I hated Johansson’s sound design in Arrival so this is an improvement!
I’m not sure if that’s still happening or if Johannsson’s work is completely rejected.
I’m not sure if that’s still happening or if Johannsson’s work is completely rejected.
Johann Johannsson is not very good at thematic development but he is great creating atmospheres, so if they keep his themes or not, I think is not a big deal. But for the movie, the atmospheric sound he is used to create would have been very good for the movie.
But anyway, we still don’t know what Zimmer & Wallfisch will bring to the movie.
Let’s wait and we’ll see.
But anyway, we still don’t know what Zimmer & Wallfisch will bring to the movie.
Let’s wait and we’ll see.
In an interview (not sure if it was taken before Zimmer & Wallfisch’s involvement) Villeneuve said that he specifically requested for the new score to use the same synths Vangelis used back in the day for the first film. That for sure would have helped Johannsson to make a far more recognizable score and probably a better one. At this point I’ve got no clue on why he was replaced.
———- Post added at 10:22 AM ———- Previous post was at 10:19 AM ———-
According to a report from Omega Underground (http://omegaunderground.com/2017/09/15/skyfall-spectre-composer-thomas-newman-expected-return-bond-25/#I4xVFMYkAERDeDSg.99), a production list for "Bond 25" lists Thomas Newman as composer.
Cannot tell if it’s true (I haven’t seen other reports for such a big news), but it’s very plausible.
———- Post added at 10:22 AM ———- Previous post was at 10:19 AM ———-
According to a report from Omega Underground (http://omegaunderground.com/2017/09/15/skyfall-spectre-composer-thomas-newman-expected-return-bond-25/#I4xVFMYkAERDeDSg.99), a production list for "Bond 25" lists Thomas Newman as composer.
Cannot tell if it’s true (I haven’t seen other reports for such a big news), but it’s very plausible.
I have no interest in Johannssons music, he’s a good sound designer but not a composer IMO. I have no idea wether the new blade runner score will be any good but I’m not sad that Johannsson has left the project.
Newman returning to bond is however great news! I loved his skyfall score and Spectre is one of my all time favorite bond scores so I can’t wait to hear what he does next with bond, if the news is correct!
Newman returning to bond is however great news! I loved his skyfall score and Spectre is one of my all time favorite bond scores so I can’t wait to hear what he does next with bond, if the news is correct!
I completely agree! Never cared for Johannsson… The ONLY cue I liked in Arrvial ended up being sourced from another film. 😛
And Thomas Newman is always a good thing! 😀 I also loved his score for Skyfall, but I’ve yet to see Spectre. I would assume his score to Spectre is great if not as great as Skyfall.
And Thomas Newman is always a good thing! 😀 I also loved his score for Skyfall, but I’ve yet to see Spectre. I would assume his score to Spectre is great if not as great as Skyfall.
Yes haha, it’s ironic how well the Max Richter cue worked which wasn’t written for the film…!
Specter develops the style of Skyfall and is a great score! There are great new themes and the action music is more refined. Some bits of Skyfall are reused and rearranged but that didn’t bother me as I liked Skyfall 😛
As for Spectre, I was disappointed. I didn’t bother the rearrangement of the themes and motifs from "Skyfall" (I personally think that every sequel should do that) but for me it wasn’t as fresh and exciting as his Skyfall score. I don’t know if Newman had trouble because of the film itself being disappointing or because Newman has trouble when it comes to score a sequel of one of his own scores.
As for Spectre, I was disappointed. I didn’t bother the rearrangement of the themes and motifs from "Skyfall" (I personally think that every sequel should do that) but for me it wasn’t as fresh and exciting as his Skyfall score. I don’t know if Newman had trouble because of the film itself being disappointing or because Newman has trouble when it comes to score a sequel of one of his own scores.
Being a fan on David Arnold’s work on the Bond series, I was surprised when the producers decided to go with Thomas Newman. Bear in mind that I’m a fan of T. Newman as well, I just couldn’t imagine how he would fit in this kind of movie. His work is very experimental, esoteric, delicate, sensual and really shines through in those emotional moments(Like Angels in America or The Green Mile), so you can imagine how I would feel knowing that he would involve himself into a more action-oriented genre.
Listening through Skyfall, I enjoyed his take on it. While taking cues from John Barry and David Arnold, he added his tone on the score and Spectre.
I’m a sucker for those sensual moments like "Severine", "Donna Lucia" and "Madeleine"(Donna Lucia being my favorite of the three tracks).
When it comes to the action cues, I enjoyed them. Maybe David Arnold nailed them somewhat better, but then again, Daniel Craig’s Bond is more raw and intimate than the ones before him. The ones before him were classy and didn’t express the emotions as much, and that reflects naturally in the scores as well.
The composers have different takes on the Bond character, and so far I have enjoyed them.
Totally agree on these! Those are maybe what I enjoyed the most from Spectre.
"The synthesized score is influenced by the work of Jean-Michel Jarre.[20] Waititi would have asked the band Queen to work on the soundtrack for the film, if their lead singer Freddie Mercury was still alive, because the film is "a cool bold, colorful cosmic adventure" which would have suited the "feel" of the band.[120] Additional music featured in the film include "Immigrant Song" by Led Zepplin and "Pure Imagination" from the film Willy Wonka & the Chocolate Factory. Patrick Doyle’s themes from Thor and Brian Tyler’s themes from The Dark World and Avengers: Age of Ultron, as well as Joe Harnell’s "The Lonely Man" theme from The Incredible Hulk series, are also used in the film."
I have not seen the trailers from the movie, nor have I any plans on doing it, but this sounds like fun!
"The synthesized score is influenced by the work of Jean-Michel Jarre.[20] Waititi would have asked the band Queen to work on the soundtrack for the film, if their lead singer Freddie Mercury was still alive, because the film is "a cool bold, colorful cosmic adventure" which would have suited the "feel" of the band.[120] Additional music featured in the film include "Immigrant Song" by Led Zepplin and "Pure Imagination" from the film Willy Wonka & the Chocolate Factory. Patrick Doyle’s themes from Thor and Brian Tyler’s themes from The Dark World and Avengers: Age of Ultron, as well as Joe Harnell’s "The Lonely Man" theme from The Incredible Hulk series, are also used in the film."
I have not seen the trailers from the movie, nor have I any plans on doing it, but this sounds like fun!
This sound like amazing news! Maybe we finally have some musical continuity and what’s more, a memorable Marvel score (I know there have been some great scores but overall, they’re very forgettable)! If it’s like that, I cannot wait for it.
When it’s supposed to be released?
Now I can say that I’m very excited for the score.
Great news, thanks futhark! 😀
Normally, it comes out at the same time as the movie(in cinemas) or a couple of days before the movie release.
AWESOME!
Now I can say that I’m very excited for the score.
Great news, thanks futhark! 😀
Non c’??? problema!
It reminds me to Crimson Peak and I loved that score, so I’m really waiting for this one. Anyone knows anything about the release date of the digital release? I think the CD is set to be released on the same day as the movie, but I dont know anything about the digital release.
Here you can find the tracklist, the previews and the CD pre-order: http://www.quartetrecords.com/marrowbone.html
Looks muy spanish to me, Javichu13.
If only the song titles were in spanish, then we’d have a full package of spanish-ness 🙂
All kidding aside, I enjoyed Sen???r Velazquez’s score from "El Orfanato", so this should be interesting.
And like I said recently here in this thread, they normally release the soundtrack just before or on the same date as the movie release.
If only the song titles were in spanish, then we’d have a full package of spanish-ness :).
That’s so true! Well, it’s all spanish except for the cast. I’m spanish and I like when they do great movies like this with an international cast, like they did with The Impossible, so I will try to watch on the premiere and buy the CD, because here, the soundtracks doesn’t usually get too big releases.
And about Velazquez, I like his style a lot, and he reminds me sometimes of Benjamin Wallfisch in the gothic melodic horror scores and even James Newton Howard in the fantastic music style.
Thoughts?
Thoughts?
Didnt care for Junkie XLs score for the original so im all for it! I also enjoyed Bates scores for the John Wick films.
Thoughts?
I don’t know. I’m not into Bates style so I don’t know what to expect, but the score of John Wick within the movie worked well so maybe it’s great.
I’m happy Junkie XL chose not to come back, since his score for the first Deadpool is barely noticeable…
They might as well reuse Hans Zimmer’s score for the 1994 original for the 2019 Lion King remake. That is, unless there are some twists that he’ll apply to the themes we know and love…
I’m kinda disappointed, since I was quite interested in Paesano’s music.
Not much of a retirement…. Lol
Great! That is a very short retirement but his scores in superhero movies are great so I like him returning to the genre.
I have also read that Ludwig Goransson will score the Venom movie.
And now that we have a title and a release date for the third How To train Your Dragon movie (The Hidden World and it’s set to be released on the 1st of March), there is also confirmation that John Powell will score the third part of the saga.
Thoughts on this assignments?
https://www.hollywoodreporter.com/heat-vision/captain-marvel-pinar-toprak-be-first-woman-score-an-mcu-movie-1120428
Pinar Toprak is the main composer for the show "Krypton", and has recently made some contributions to the "Justice League"(2017) movie.
According to her wiki-page, she has also composed for a couple of video games, so she’s got some experience..
I’ve never heard about her, so, to me, it’ll be a clean slate about what expectations I have for her.
Oh yeah, she’ll also be the first female composer for the MCU. Girl power, y’all!
P.S: After a quick search on YT, this was the first track I found from her official YT channel:
https://www.youtube.com/watch?v=c3jf111Vaxg
Sounds intriguing! Makes me think of Assassin’s Creed or abit like James Newton Howard for some reason..
Online Casino South Africa
Online Casino New Zealand
Online Casino India
Online Casino Australia
Online Casino UK
Online Casino Canada
