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nosophoros posted:Just going to post this here because everyone should become familiar with the stellar soundtrack to Ravenous, which is a pretty good movie in its own right to boot as well. This really sums up the overall tone of the movie to me. It's like a jugband recreation of a slasher flick in the beginning, then the jaunty little frontier tune leaks out over the top. I need to get the movie and the soundtrack someday but keep putting it off. More people need to see Ravenous.
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Feb 24, 2013 14:58
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After seeming to drop off the face of the planet for a couple of years, John Ottman is back scoring Singer's "Jack the Giant Slayer". I picked it up today it's quite good. Ottman wields melody like few others and his ability to change the sonic landscape with his transitions is fantastic. Some great homages to a more old-school style of scoring and adventure flick, and there's plenty in here that will remind people of other composers (Williams, Silvestri and Goldsmith to name a few), but it's a great mix of those styles and it still comes across as Ottman. I maintain that his adaption of Williams' Superman material for Singer's Superman Returns was the best thing about that film. https://www.youtube.com/watch?v=7Rx2XyR6cfk I love it when composers break away from the Hans Zimmer/Media Ventures/Remote Control method that Hollywood is bathed in these days, and Ottman is one of the guys who can absolutely do that. ComposerGuy fucked around with this message at 06:35 on Mar 7, 2013 |
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Mar 7, 2013 06:33
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The thing I like about Ottman is that he has a very recognizable style that's been evolving a lot over the years. Though personally I don't think he's yet surpassed what he did in The Usual Suspects, his take on the late Michael Kamen's X-Men theme was fantastic in X2.
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Mar 7, 2013 12:01
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The remarkable thing about Ottman is that he's not only a great composer, he's a great editor. ...and he directs. And produces. The man does everything.
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Mar 9, 2013 05:49
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Apparently Ottman is editing Days of the Future Past which makes sense as it's a Singer flick but there's no word whether or not he's scoring it too. I hope that's the case; First Class had a pretty by-the-numbers score by Henry Jackman and it would be nice to get some of that X2 style back. That said, the score was probably the best part of X-Men 3 by a mile so I wouldn't mind getting John Powell back either. On another note, I finally had the chance to see Lincoln the other day and while Williams' score works well for it, in the end I felt it was slightly lackluster. A lot of his scores work remarkably well out of the context of the film in the sense that you can just sit down and listen to them, but I didn't get that vibe with Lincoln. I don't think that's happened to me with a Williams score since Amistad.
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Mar 16, 2013 00:10
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I felt Lincoln was overscored. Particularly at parts with heightened tensions, it would have been better to let the silence linger. But it felt like Williams wasn't content with that and had to wring every bit of emotion out of his audience. I've always had an appreciation for films that knew how to utilise silence, but this wasn't one.
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Mar 16, 2013 08:12
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Stare-Out posted:Apparently Ottman is editing Days of the Future Past which makes sense as it's a Singer flick but there's no word whether or not he's scoring it too. I hope that's the case; First Class had a pretty by-the-numbers score by Henry Jackman and it would be nice to get some of that X2 style back. That said, the score was probably the best part of X-Men 3 by a mile so I wouldn't mind getting John Powell back either. My bet is on Ottman scoring. When he edits he almost always scores for Singer. I agree that Powell would be just fine as well, though.
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Mar 16, 2013 22:50
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Out of the blue, the 20th anniversary edition of the Jurassic Park soundtrack has 4 unreleased tracks! (iTunes link) Even the Mr. DNA theme. 
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Mar 27, 2013 09:41
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The soundtrack for the upcoming sci-fi movie "Oblivion" hasn't been released yet as far as I know, but the music is done by M83, a french band I know almost nothing about. All I know is that this track came up on my spotify and I LOVE it. I imagine it will be over the end credits because that's the feeling I get from listening to it, but if the rest of the soundtrack is this good, I'll be ecstatic. https://soundcloud.com/backlotmusic/oblivion-feat-susanne-sundf-r
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Apr 2, 2013 21:33
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Superrodan posted:The soundtrack for the upcoming sci-fi movie "Oblivion" hasn't been released yet as far as I know, but the music is done by M83, a french band I know almost nothing about. All I know is that this track came up on my spotify and I LOVE it. I imagine it will be over the end credits because that's the feeling I get from listening to it, but if the rest of the soundtrack is this good, I'll be ecstatic. Wait, WHAT? I had completely missed that. M83 is all sorts of amazing and this just made me so much more excited for the movie. They've released another song from the movie as well: https://soundcloud.com/backlotmusic/starwaves-from-oblivion/s-I9QkG
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Apr 2, 2013 22:08
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It should be noted that the director of Oblivion also directed Tron: Legacy, and of course managed to get Daft Punk to score that one. I'm assuming we have the same taste in music, so his next film better be scored by Justice. I didn't like M83's last album, and I saw them live last fall but they played too much new stuff. The two songs from this film though are more like his older work and I like them very much. Compared to M83's latest, excessively poppy album, "Before the Dawn Heals Us" is full of grander, more film-score styled music.
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Apr 3, 2013 05:10
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Superrodan posted:The soundtrack for the upcoming sci-fi movie "Oblivion" hasn't been released yet as far as I know, but the music is done by M83, a french band I know almost nothing about. All I know is that this track came up on my spotify and I LOVE it. I imagine it will be over the end credits because that's the feeling I get from listening to it, but if the rest of the soundtrack is this good, I'll be ecstatic. hnnnnng  I'm going to this just for the soundtrack now
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Apr 3, 2013 20:09
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The Oblivion soundtrack is now streaming in full here: http://consequenceofsound.net/2013/04/listen-to-m83s-soundtrack-for-tom-cruise-sci-fi-film-oblivion/ Tracks like Jack's Dream and Canyon Battle are really kicking my rear end right now. It definitely has those ambient, electronic Tron Legacy vibes, which I like a lot.
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Apr 4, 2013 18:32
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Don't think anyone's yet mentioned Max Richter's score for Waltz With Bashir, which I thought brilliantly complimented the film's subject matter. In fact, I'd say that the soundtrack was the film's greatest strength if it weren't for the absolutely mesmerising visual style. http://www.youtube.com/watch?v=Dusa4uMXGvo
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Apr 4, 2013 20:58
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Hewlett posted:The Oblivion soundtrack is now streaming in full here: http://consequenceofsound.net/2013/04/listen-to-m83s-soundtrack-for-tom-cruise-sci-fi-film-oblivion/ E: I had this on a loop while doing some housework today and it's definitely growing on me. At its worst it drops to generic Two Steps from Hell territory of "epic" but it's more atmospheric than I first thought, especially towards the end when it slows down significantly. It's quite uneven in that sense but carries its weight nonetheless. I like it. Stare-Out fucked around with this message at 17:32 on Apr 12, 2013 |
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Apr 6, 2013 23:43
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I appreciate when a movie really cuts up the score to fit scenes as needed. Listen to the Die Hard soundtrack, or Hugo, and the you recognize half the song, then the other half either wasn't used in the movie or was cut to a different scene. It's pretty cool, yet I rarely find soundtracks like that. (They're both great soundtracks too) Why is that?
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Apr 29, 2013 01:14
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Because the vast majority of the time films are scored after editing is completed or at least mostly completed. They aren't writing blind. The scenes are playing in the recording session so that everything syncs up.
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Apr 29, 2013 04:48
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One time I was messing with the first Harry Potter movie and its soundtrack album (I wanted to put John Williams music over Wizard People Dear Reader) and discovered the album tracks didn't sync with the film. Either they were recorded to a different cut of the film, to no picture at all (treated purely as pieces of music), or were edited and finagled around with TC/E voodoo to fit the final cut. It was kinda interesting.
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May 3, 2013 19:02
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One of the soundtracks I keep going back to is Clint Mansell's "Moon" soundtrack. I had the soundtrack before even seeing the movie, it just sounds fantastic, and worked incredibly well with the movie. It seems the full soundtrack is on Youtube. http://www.youtube.com/watch?v=SPNke7g20js&list=PLFF3CF5C70F0E02C6
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May 3, 2013 20:06
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The Time Dissolver posted:One time I was messing with the first Harry Potter movie and its soundtrack album (I wanted to put John Williams music over Wizard People Dear Reader) and discovered the album tracks didn't sync with the film. Either they were recorded to a different cut of the film, to no picture at all (treated purely as pieces of music), or were edited and finagled around with TC/E voodoo to fit the final cut. It was kinda interesting. John Williams will often use separate takes and different arrangements of a cue for the album which are different from the ones used for the film. By now he's gotten really good at conducting a take and knowing which one will be better to listen to on the album and which one will be better for the film.
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May 3, 2013 21:29
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Mansell is a bit of a strange fish to me; I can't stand the Requiem for a Dream score (for which he's probably the most known) and Smoking Aces was really hit/miss but his Moon score is excellent and The Fountain is up there as one of my favorite scores of all time. His work on Mass Effect 3 was pretty decent as well. I can't remember anything about the music in The Black Swan though.
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May 3, 2013 21:32
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Stare-Out posted:I can't remember anything about the music in The Black Swan though. I didn't care much for the Black Swan soundtrack. Had I bought it as a "Mansell does "Swan Lake", rather than expecting a purely original soundtrack, I may have a different opinion. Of all the Mansell soundtracks I have, it's the one that gets the least plays.
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May 3, 2013 21:54
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I'm noticing more and more how much of an unrepentant self-plagiarist James Horner is. I watched Clear and Present Danger last night and the soundtrack could be constructed straight from clips of Apollo 13 and Avatar, or vice-versa.
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May 3, 2013 22:14
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And yet they're still so great. In CaPD and Apollo, anyway. Never bothered seeing Avatar.
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May 9, 2013 15:48
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Vegetable posted:I felt Lincoln was overscored. Particularly at parts with heightened tensions, it would have been better to let the silence linger. But it felt like Williams wasn't content with that and had to wring every bit of emotion out of his audience. I've always had an appreciation for films that knew how to utilise silence, but this wasn't one. This a million times. It was a pretty condescending soundtrack--is there an emotion you could possibly have here? HERE'S AN ORCHESTRA FOR IT--that was trying to relentlessly and sentimentally hit us with the feelings of the film. As if the film weren't already shot with an annoying degree of emotional unambiguity. Good god, he couldn't even leave Lincoln's speech alone. e: for the record, I usually really like Williams. But the soundtrack of Lincoln left me feeling...pandered to. Cyber Dog fucked around with this message at 18:27 on May 9, 2013 |
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May 9, 2013 18:23
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From Jurassic Park - on, I much preferred understated Williams to bombastic Williams. His 80s output NEEDED the large, over the top scores, and tune based thematics because those movies were often drawing from throwbacks. However, once Spielberg stopped directing in his 80's style in general, the obvious-theme-score didn't really fit as much. Whenever Williams returns to it, it just feels out of place and weird, whereas, when he doesn't (Catch Me if You Can, War of the Worlds), it sounds fantastic. I tend to rate composers by eras. For instance: - in the 80s, my tops would probably be Jerry Goldsmith, John Williams, John Barry, and Ennio Morricone - in the 90s, it would shift quite a bit, and include James Horner, Thomas Newman, Carter Burwell, and Hans Zimmer, and maybe Elfman or Silvestri - in the 2000s, James Horner falls waaayy off, to "gently caress James Horner," Zimmer jumps up quite a bit to possibly #1 because of the Black Hawk Down/Hannibal/Simpsons/Last Samurai combo, Elfman disappears, Williams jumps back up a bit because of the third Harry Potter and a few of the Spielberg movies, and you start including people like Powell and James Newton Howard - in the 2010s...I'm not even sure. I like some of Zimmer's stuff, but not as much as his general 2000s output, I'm not liking recent Williams, I think Giacchino is "ok" but depends too much on a singular theme in all of his work, and am just "okay" with people like Desplat or Mansell's recent stuff. I've actually been listening mainly to stuff from the 80's for the past few years, thusfar.
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May 9, 2013 19:47
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Now that I think about it, I don't think I've particularly cared for any Williams scores since... Munich? I mean that score was terrific but ever since that it hasn't been quite as great. I've listened to everything he's done since but I honestly can't remember anything about Tintin or Crystal Skull for instance. I'm sure they were good and all but clearly lacked something.
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May 9, 2013 19:51
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I've actually really been digging Brian Tyler's work since he started working more high-profile projects - it may help that he mostly does big action movies, but his scores always have a nice, fresh energy to them that I admire. Plus one of his early works was his surprisingly great score to the Children of Dune miniseries, which allowed him to do space opera.
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May 9, 2013 20:03
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Williams' best score is "Hook". I will defend this opinion to the death.
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May 9, 2013 20:48
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ComposerGuy posted:Williams' best score is "Hook". I will defend this opinion to the death. This really isn't an incredibly radical opinion the more I think about it
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May 9, 2013 20:53
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Hook is easily Top 3. Easily. Very, very underrated (which shows that, in most cases, the lesser-liked films with great scores will go mostly unnoticed). 'You are the Pan' is one of my top-played Williams tracks: http://www.youtube.com/watch?v=2EFiTuG21jg I still have E.T., Last Crusade, and Jedi rotating in there, though. My "top Williams track" is probably still Scherzo For Motorcycle & Orchestra: http://www.youtube.com/watch?v=HQIjCI6Eji0
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May 9, 2013 21:06
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Darko posted:'You are the Pan' is one of my top-played Williams tracks: One composer I tend to bring up a lot whose work has been steadily excellent and very varied is Howard Shore. Everything from the stuff he did with Cronenberg to Silence of the Lambs and Seven, all the way to Lord of the Rings and The Hobbit has been superb. That he can do stuff like this in Seven and go on to score the gently caress out of a movie in The Return of the King always amazes me. It always seems to me that he comes very close but never loses his style despite his range.
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May 9, 2013 21:43
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It would be interesting to share film score related Spotify playlists for those of us that use Spotify (it's free, so why wouldn't you?). Might be a good way to expose others to other tastes or things we may not necessarily listen to otherwise. I'm not sure this will work correctly, but I'll give it a try - here is a playlist I made a little while ago that started as "just contemporary," and then turned into, "you know, some Miklos Rozsa would really sound good right now..." Let's see if this works: http://open.spotify.com/user/125938256/playlist/114eDyzNMNzaiGnnFw2ong edit: Oh, look, my full name. Okay, well, if you don't mind your actual name being open and available, I guess, hah. Darko fucked around with this message at 14:33 on May 10, 2013 |
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May 10, 2013 14:26
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http://open.spotify.com/user/ellywu2/playlist/680wtzEEfFA3fCy2kTTdj4 Here's mine. Nothing special, though slowly descends into more classical pieces rather than film scores. (As an aside, if you haven't heard it before, please listen to Tchaikovsky's 'Marche Slave'. Far better than the more popular 1812 Overture. It's great, and has clearly inspired film scores.)
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May 10, 2013 14:51
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haakman posted:http://open.spotify.com/user/ellywu2/playlist/680wtzEEfFA3fCy2kTTdj4 Yes, this shares quite a few similarities with some of mine (I typically reserve Transformers/Batman stuff for workouts and separate that type of stuff from more melodic pieces). I refuse to ever put any Horner on anything anymore, but actually, "War" from Avatar doesn't sound that bad. Hey, ComposerGuy - I just made this one especially for you. It's called "Respect the Zimmer." Sadly, I couldn't include half of the more obscure stuff on there, and I had to use some City of Prague covers due to Spotify not having some originals: http://open.spotify.com/user/125938256/playlist/1Vm0D0lSfytOqafC026NGR (For the most part, it doesn't include what you would normally think and has a wider variety than the typical Gladiator/Batman/etc. stuff) Darko fucked around with this message at 16:34 on May 10, 2013 |
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May 10, 2013 16:31
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Darko posted:I refuse to ever put any Horner on anything anymore, but actually, "War" from Avatar doesn't sound that bad.
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May 10, 2013 17:39
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Darko posted:Hey, ComposerGuy - I just made this one especially for you. It's called "Respect the Zimmer." Sadly, I couldn't include half of the more obscure stuff on there, and I had to use some City of Prague covers due to Spotify not having some originals: I never said Zimmer is incapable of writing stuff I can enjoy, just that he does it so infrequently now that I simply automatically assume every project he works on is going to be Zimmer-fied.
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May 10, 2013 19:14
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Double post I know, but as an example I absolutely love Zimmer's score for "The Prince of Egypt". Stephen Schwartz did good work on the songs, and I enjoy them, but the score really shines. The "God" theme in particular is very evocative (heard fully in the burning bush scene and the parting of the red sea). I like it even more than his work on Lion King, which is saying something.
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May 13, 2013 15:52
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I've always found Lion King overrated (and derivative of Horner - type stuff, ie. "Glory" in construction) - and found Prince of Egypt MUCH better. And liked Road to El Dorado more than Prince of Egypt. The only problem I have with current Zimmer is lack of "listenable variety." Earlier 2000s was excellent - you had great tonal and stylistic jumps between Black Hawk Down and Hannibal and Simpsons and Matchstick Men, etc. which were all great, but different. The only problem he had then was overusing Lisa Gerrard. Now, he's so married to superheroes, sequels, and big summer bombastic blockbusters, that you're getting a lot of similar scores. Not as much of the understated "smaller" movies or the stylistic changes in jumping from a spy movie to a cartoon about talking animals.
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May 13, 2013 16:23
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I'm falling more in love with Brian Tyler, who's quickly turning into the new Lalo Schifrin: https://www.youtube.com/watch?v=zypcnjlhCNU (It's not particularly innovative, I know, but it's a lot of fun to listen to, and I love that Brian Tyler's thing is that he does his own drums/guitar and just enhances that with orchestra around it.)
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Jun 3, 2013 20:49
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