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Michael Giacchino's SPIDER-MAN: HOMECOMING (2017)


Damien F

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12 hours ago, TheUlyssesian said:

I am musically illiterate. So take whatever that follows with a grain of salt.

 

Williams

E a C# F C

E a C# D# E A

Gia

a E D E F C

a E D E F# D

 

For someone who calls themselves musically illiterate, you know your stuff! And you pretty much explained exactly what I've grown to hate about Giacchino's blockbuster works -- it's pedestrian, predictable, text-book rubbish far beneath his level of talent.

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9 minutes ago, crumbs said:

 

For someone who calls themselves musically illiterate, you know your stuff! And you pretty much explained exactly what I've grown to hate about Giacchino's blockbuster works -- it's pedestrian, predictable, text-book rubbish far beneath his level of talent.

 

I can't read notes at all nor had a single music lesson of any kind in my life. I have self taught the piano to myself so can play a little bit and I use this rudimentary notation to transcribe music.

10 minutes ago, Stefancos said:

 

I'm no good at maths, is this a sumb?

 

Lol it's a very basic attempt at transcribing music cause I can't read notes.

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16 hours ago, Sharky said:

 

Who composed that score to that game? It sounds leagues better than what we've heard from the Gia suite.

 

I never really heard any music under the constant sound effects and dialogue.  Not enough to make any kind of judgment of its quality at least.

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Everyone here talkes garbage about every composers scores unless it's John Williams. Hans Zimmer's Interstellar and Dark Knight trilogy scores are incredible. Danny elfman's batsman score is awesome. It's very hard to create a score.

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Will wait until I hear the whole score, but I can't say that I'm too enthusiastic after hearing that suite. Can't help but think that Giacchino may have burned himself out creatively after a packed 2015/2016.

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I agree completely. I'd even go so far as to say that Beyond has some of the best pieces of music Giacchino has written. There is an infectious fun and energy to the whole album, and the action music isn't a glaring weakness like it has been on some of his recent works (at least for me). 

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The first and foremost function of a film score is to not cut a great album but to work IN THE FILM.

 

As such, Rogue One is a very functional film score and works well in the film. Specially during the massive finale (basically the second half of the film), Gia lets lose quite a racket and it serves the hyper pace of the film. Again, a functional film score which serves the film well. It's not as elegant or refined a score as we are used to for Star Wars but Williams unfortunately cannot score every movie in existence. 

 

 

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12 minutes ago, TheUlyssesian said:

The first and foremost function of a film score is to not cut a great album but to work IN THE FILM.

 

As such, Rogue One is a very functional film score and works well in the film. Specially during the massive finale (basically the second half of the film), Gia lets lose quite a racket and it serves the hyper pace of the film. Again, a functional film score which serves the film well. It's not as elegant or refined a score as we are used to for Star Wars but Williams unfortunately cannot score every movie in existence. 

 

 

 

I would totally agree with functional. But I don't think functional is all that great a compliment. 

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Don't agree. The music more than once negatively stood out, i. e. those damn brass triplets that were plastered clumsily over the action scenes. I don't think the score was an offense but all things considered, a lame movie wasn't lifted by its score which is the one thing you could say about those prequels.

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1 minute ago, publicist said:

Don't agree. The music more than once negatively stood out, i. e. those damn brass triplets that were plastered clumsily over the action scenes. I don't think the score was an offense but all things considered, a lame movie wasn't lifted by its score which is the one thing you could say about those prequels.

 

It's a mercy you could hear the music at all. I think it's a plus that the music was mixed loudly in the sound mix. These days I feel I am either going deaf or I can bearly hear film scores in the cinema hall with all the thunderous sound effects. I think in Rogue One I could hear the score throughout which was nice.

5 minutes ago, Bilbo Skywalker said:

 

I would totally agree with functional. But I don't think functional is all that great a compliment. 

 

It's a compliment in context though. Wasn't it a rush job if I remember correctly. Poor Gia having to write the most massive score of his career in like 6 weeks or something. He still delivered a fully symphonic score with 5 major themes instead of the ambient rubbish that we get in big budget movies these days. So it was nice that he still delivered a "proper" film score. You get the sense he cared about this job and did not phone it in with a hackjob like Spiderman.

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I don't know, i just listened to that suite and i it seems more assured than those tries at Wagnerian might. To praise a score for being loudly mixed sounds a bit like the old Woody Allen joke about the old ladies complaining about the bad food/small servings.

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I have to say that the third act, the Battle over Scarif had some overbearing, clanging, banging and as pub has said, those damn random brass triplets everywhere. For however the prequel scores have been criticised for anonymity and lack of direction in the scores, I think they had more purpose than Rogue One's filling silence. The first two acts had clear engaging music, which complimented the scenes, and I can't help but think the messiness of the score at the end battle (before 'Your Father Would Be Proud') was somehow because of the restructured edits to the end of the film, and Gia shitting himself trying to write anything to accompany it.

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7 minutes ago, GiacchinoCues said:

It might also have to do with the fact he had four and a half weeks to write an entire score. :)

That too! Aside from little niggles and complaints, it's still certainly an amazing feat to write a fully fledged score, with good themes to boot!

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16 minutes ago, GiacchinoCues said:

It might also have to do with the fact he had four and a half weeks to write an entire score. :)

 

Thats his excuse for Rogue One. I don't think it works for his other numerous poor scores though. 

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I decided to make an example of what Marvel could be musically if they had any continuity in their scores.

 

There's some quick examples in this, and some full examples of how great it could have been.

 

I used Captain America: Civil War clips, and replaced Jackman's awful and forgettable score with Silvestri's Captain America, Giacchino's Spider-Man, Beck's Ant-man, and Tyler's Iron Man.

 

https://onedrive.live.com/?cid=E7092C5B13F6FE4C&id=E7092C5B13F6FE4C!805&parId=root&o=OneUp 

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2 hours ago, KK said:

But someone more competent might have earned more deserved admiration for his effort.

 

I'll admit I lost most of my enthusiasm for the score as soon as Desplat left.  

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2 hours ago, leeallen01 said:

I decided to make an example of what Marvel could be musically if they had any continuity in their scores.

 

There's some quick examples in this, and some full examples of how great it could have been.

 

I used Captain America: Civil War clips, and replaced Jackman's awful and forgettable score with Silvestri's Captain America, Giacchino's Spider-Man, Beck's Ant-man, and Tyler's Iron Man.

 

https://onedrive.live.com/?cid=E7092C5B13F6FE4C&id=E7092C5B13F6FE4C!805&parId=root&o=OneUp 

 

Link's not working. Is this not finished? 

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