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I was listening to Rod Stewart's Maggie May on the radio yesterday and as the instantly recognisable guitar riff kicked in at the end of the song I immediately began thinking of how the iconic nature of its sound, its subconsciously memorable aesthetic, applies to film music. I'm not talking about whole themes and entire cues of famous movie music, but rather like the thread title states - the incidental "riffs" of a certain cue which at their time of recording were just ancillary melody and texture acting as complimentary highlights within the greater cue and score. Sometimes they may have become strikingly noticeable by design, or perhaps it was just the naturally satisfying depth of orchestration which gave the essentially short musical signal its legs. I'm thinking along the lines of something like the ostinato motor rhythm of Superman, or the whirling hypnotism of Vertigo's Prelude flutes; two instantly recognisable and arguably iconic signatures of the medium. Those two in particular have also just gotten me thinking about whether their shared repetition in terms of construction plays a part in their eventual fame, it certainly seems likely. But I'm sure there are other examples of score riffs which don't adhere to the same musical design, standing out perhaps for more unconventional or seemingly unlikely reasons. Any examples to share?
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Anyone interested in this movie and score? I loved Chris McQuarrie's The Way of the Gun (his sole directorial feature so far) and I always found the score by Joe Kraemer quite interesting, so I'm intrigued by this new feature. Now, as you may know, Jack Reacher is based on popular series of crime novels written by Lee Child (which I haven't read) and I know fans of the books were sorely disappointed by the choice of Tom Cruise as the leading character--in the books Reacher is described as a middle-aged big tough guy with dark blonde hair. However, the movie looks interesting mainly because it seems to harken back to 1970s action thriller stylings (i.e. The French Connection, Taking of Pelham 123, Scorpio, etc.), a favourite genre of mine. I was reading FSM's Tim Grieving http://projectorandorchestra.com/reaching-high/'>blog post about the film and when I read the following paragraph I was truly excited: This one looks like a score to look forward to. Here's the trailer for those who haven't seen it yet:
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This one of my favorite sports related scores. Happy to see the complete score available. I strongly disagree with those who say this is ruined by the electronics, for a basketball junkie like me they make this score a true roundball soundtrack.
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Here's an exclusive first listen to the soundtrack composed by Alexandre Desplat for the new Kathryn Bigelow movie: http://blogs.indiewire.com/theplaylist/exclusive-hear-alexandre-desplats-score-to-zero-dark-thirty-20121210#.UMYbE6Uv_y0.facebook
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- 2012 Scores
- Score Talk
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Hello! Sorry if this sounds a bit PR-ish, i've been helping the composer get the word out about this new work - it's just a quick post to bring your attention to a really wonderful orchestral / vocal cross-over album which was inspired by music written for a film that ultimately didn't happen: 'The Sound of Gaya'. There's an official Facebook page with lots of audio and video content here, plus an opportunity to win CD's of the album this week: http://www.facebook.com/TheSoundOfGaya and the website is here: http://www.thesoundofgaya.com/ The composer, James Seymour Brett is currently working on Pixar's Planes and has already had a busy 2012, scoring Stephen Frears' 'Lay the Favourite', a couple of French films and he was the Orchestral Music Director for the Queen's Diamond Jubilee concert in June. He also recently conducted the end title song for 'The Hobbit'. Film Music Site interviewed James about the album recently: http://www.filmmusic...t&id=98&lang=en
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I am personally still undecided... although I may actually be leaning to the Tadlow Re-Recording. But it's great to have both! How do you guys feel?
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I thought I should create a thread for Television music. I really like Star Trek TOS's music, and think that alot of TV shows should have Various composer, instead of just one reign of terror. I also recently discovered Tim Jones music for "Chuck" which, while not a masterpiece, has some good cues.
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Don't know if this was ever officially announced or not, but a new Morricone composition called "Ancora Qui" will appear on the Django Unchained soundtrack (and presumably in the film): http://www.comingsoo...ws.php?id=97485
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Available to order RIGHT NOW http://store.intrada.com/s.nl/it.A/id.7716/.f'>http://store.intrada...it.A/id.7716/.f http://www.screenarchives.com/title_detail.cfm/ID/23066/'>http://www.screenarc...l.cfm/ID/23066/ http://www.moviemusic.com/soundtrack/M08697/conanthebarbarian-definitive/'>http://www.moviemusi...ian-definitive/ -
http://www.facebook.com/photo.php?fbid=10151353875608755&set=a.181243738754.155532.56031953754&type=1'>http://www.facebook....31953754&type=1 http://www.facebook.com/photo.php?fbid=10151354310898755&set=a.181243738754.155532.56031953754&type=1'>http://www.facebook....31953754&type=1 Available to order at 1PM PST on Tuesday, December 4th, 2012 at http://www.lalalandrecords.com/'>http://www.lalalandrecords.com/ and other fine retailers.
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Tracklist: 1. Logos 2. Theme from “Hitchcock” 3. The Premiere 4. Paramount / Out the Gate 5. Mommy Dearest 6. In Bed 7. Impulses 8. The Censor 9. The Swim 10. Peeping 11. Sacrifices 12. Walk With Hitch 13. Celery 14. Telephone 15. Suspicion 16. Explosion 17. Selling Psycho 18. Fantasy Smashed 19. The Sand 20. It’s A Wrap 21. Busted 22. Saving The House 23. Finally 24. Home At Last 25. End Credit#1 26. End Credit#2 27. Funeral March for a Marionette Source: http://soundtrack-movie.com/hitchcock/ Edit this any way you like Jason. -
http://store.gnpcrescendo.com/new/product_info.php?products_id=228'>http://store.gnpcres...products_id=228 Jason if you want to edit the post so it is more professional that's fine with me.
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The original soundtrack for Howard Shore's score to The Hobbit: An Unexpected Journey will be released on Monday December 10th by Decca (Internationally) / Tuesday December 11th by WaterTower Records (USA). The STANDARD VERSION of The Hobbit OST (http://www.amctheatr...xpected-journey Nov 7: A sample of Old Friends (Extended Version) (5:01) began streaming on The Hobbit's Official website Nov 7: Samples of every track from the regular and Special Edition OST appeared on qobuz.com Standard OST: http://thefilmfatale...y-the-hobbit-an Nov 11: Amazon has begun streaming 30 second samples of every track http://www.rollingst...emiere-20121112 Nov 13: Empire Online is streaming the entire OST (Standard Version) http://www.empireonline.com/news/story.asp?NID=35757
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The OST to Skyfall composed by Thomas Newman will be released on Monday October 22nd (International) / Tuesday November 6th (USA) by Sony Classical. More info as soon as I get it. UPDATES: Amazon UK link with Monday October 22nd release date: http://www.amazon.co.uk/dp/B0096233ZW/ Amazon US link with Tuesday November 6th release date: http://www.amazon.com/dp/B009FBX5M0/ Cover art:
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- 2012 Scores
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Source: http://secure.campaigner.com/Campaigner/Public/t.show?TuAn--Et6a-gkivq2'>http://secure.campai...An--Et6a-gkivq2 http://lalalandrecords.com/StarTrekMailingList.html'>http://lalalandrecor...ailingList.html https://www.facebook.com/photo.php?fbid=10151179476523755&set=a.181243738754.155532.56031953754&type=1'>https://www.facebook...31953754&type=1
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Koray?
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Not surprisingly, Giacchino is confirmed to score Star Trek (X)II http://www.comicbookmovie.com/fansites/BatFreak/news/?a=50240
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http://buysoundtrax.stores.yahoo.net/jocathmufrmo.html http://www.screenarchives.com/title_detail.cfm/ID/16523/THE-THING-1000-EDITION-PRE-ORDER/
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I was just wondering who here picked up FSM's release of Days of Heaven by Ennio Morricone? I would love to hear people's thoughts on it. I am completely unfamiliar with it, but know it is highly regarded by Lukas Kendall and many others. How is the listening experience of the FSM release compared to the old OST? How is the packaging and liner notes? Thanks for sharing your thoughts!
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Interesting pairing eh? But they remind me very much of each other. They both can write the big boomy scores that studios come to expect these days, and yet they do it in a much more sophisticated fashion than these types of scores are written with. McCreary relies more on ethnic instrumentation to deliver that big sound (with the heavy taiko drums, etc.), where John Powell implements more electronics. To me, John Powell still sounds very RCP, but McCreary has developed a sound signature all his own. John Powell I can still predict the next note on, McCreary takes familiar ideas into new directions. I'd honestly say that McCreary's music is probably the most surprising to me these days in terms of how well I can predict what direction a melody or theme will take. And that's something rare. Vote!
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That's right, unlike Up, this one's coming out on physical CD! http://pixarblog.blogspot.com/2011/03/exclusive-cars-2-soundtrack-to-feature.html
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http://www.eurogamer.net/articles/2010-11-30-music-to-play-games-by-article Big fan of game scores here, in fact I'm becoming more and more satisfied by game scores than I am by their contemporary movie equivalents. There's a huge amount of creativity to be found in this relatively new industry and it's just producing better and better stuff each year.
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I was watching Toy Story 3 yesterday, and I was really impressed with the score. I enjoy listening to the other two scores, so I was expecting a decent score from Newman at the very least, but some moments really stood out. Track 14 is just epic, and one of my favourite cues this year. I won't spoil it for anyone who hasn't seen the movie, but those who have will know exactly what scene it's from. The first half reminds me so much of Goldsmith, especially at 0:38 when the strings play a ferocious little action melody, then it's immediatly passed to the trumpets. The rest of the score is enjoyable if you liked the other scores. The third track is another good action cue, and there are some unexpected Spanish influences dotted throughout a few tracks P.S. The link above is for track 14 on YouTube. The track name contains a spoiler, as do the comments. What do you guys think of the score, especially track 14?
