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Damien F

MISSION IMPOSSIBLE: FALLOUT (2018) - Film & Score

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4 hours ago, Richard Penna said:

I'm sure it hasn't - Balfe is probably very happy.

 

I'm sure poor "just following orders" Balfe hates all of the attention the studio is giving his humble score.

 

Frankly I'm pretty neutral to the music he wrote: it's by no means awful (though please stay away from Schifrin). I'm not even gonna say he had objectively had shortcomings that were being called out. I'm just tired of composers hiding behind the excuse of "I was hired to do X", as if they implicitly are saying "the powers that be are the ones responsible for the quality, I'm just the scientist with the daughter held at gunpoint!" 

 

I'm not trying to reignite the discussion on what makes good film music that we had in this thread a few months ago.

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That’s sort of how it works, though. The composer is there to fulfill the director’s vision. Anyone in the industry will say the same thing. The reason why this particular score is getting so much “love and attention” is because of McQuarrie. Highly doubt the decision to do an isolated score track and composer commentary track was Paramount’s. 

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8 minutes ago, Koray Savas said:

That’s sort of how it works, though. The composer is there to fulfill the director’s vision. Anyone in the industry will say the same thing. The reason why this particular score is getting so much “love and attention” is because of McQuarrie. Highly doubt the decision to do an isolated score track and composer commentary track was Paramount’s. 

 

No one's disputing your larger point  (and on the latter replace my earlier "studio" comment with "director" and the point stands). It's one of the number one unwritten tenets a film score fan has to accept 

 

It's purely that people didn't dig what he did, mentioned so (sometimes in ways that frankly were unnecessary at best), and he throws out that cliche to ward off any personal involvement. He's pretty consistent in his sound and approach from the growing high-profile projects he's accrued in the last year or two, would he really have written something that much different if, by God's grace and mercy, the producers and director pretty please with a cherry on top give him free artistic reign?

 

 Just own it and recognize some people don't like it, man! (said rhetorically to Balfe)

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Interesting review of Fallout by Filmtrack's Christian Clemmensen.

 

http://filmtracks.com/titles/mission_imp6.html

 

Very well written and spot on, and despite its lack of quality he's trying hard to say something positive about the score. Here's some highlights:

 

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Balfe blasts you in the face with this material without any significant deviation in technique, and the emotional variance within the score is surprisingly ineffective; you have diarrhetic action, action, and more action, followed by occasional constipation in the form of brooding, ambient suspense or emotionless drama. Balfe has mostly lost the sense of style inherent in the franchise's music in the process of confusing Hunt with Batman, and all of the score's highlights are tied directly to the Schifrin interpolations at their most obvious.

 

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The brass could be organic or manipulated to the point of despair, parts of the score forcing symphonic elements through processors meant to give the instruments an abrasive, synthetic edge.

 

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Balfe has proven he is no fool, but he sometimes writes like one, and directors like McQuarrie are the reason for that continuing loss of finesse.

 

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I thought Balfe's score was fine for a bloody Mission Impossible film. Maybe some people are so invested in this series, but I really don't care who scores these films as long as they're committed and the music services the film - on both counts Balfe seemed to be enjoying what he was doing and the score had its moments...

 

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