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Hans Zimmer & Benjamin Wallfisch's Blade Runner 2049

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2 minutes ago, Snake Plissken said:

 

Being new here, why does everyone agree with you? Are you Tyrell, Did you implant memories so we had a cushion to be able to act more human than human?

Mamories, you're talking about mamories

 

 

I'm just agreeable.  That's all there is to it.  Nothing unusual happening here, no sirree.  *whistles*

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4 hours ago, Nick1066 said:

Hmmm.  I think there's only 2-CD sets available.  Where are people getting the idea that there's a 1-CD edition?

 

I think the freakouts might be premature?

Well yeah, I mentioned earlier that the woman said there was only a 2CD edition.   But the verbiage and layout on the website wasn’t really clear. It also automatically changed product codes between cart and checkout and in the order confirmation email it removes the 2CD label. 

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1 hour ago, Disco Stu said:

 

I'm just agreeable.  That's all there is to it.  Nothing unusual happening here, no sirree.  *whistles*

 

Agreed

 

1 hour ago, Koray Savas said:

Well yeah, I mentioned earlier that the woman said there was only a 2CD edition.   But the verbiage and layout on the website wasn’t really clear. It also automatically changed product codes between cart and checkout and in the order confirmation email it removes the 2CD label. 

 

This is why I sent them 2 emails with a total of no replies over 3 days now. I am sorry to be a revolving door on the subject, lack of communication on the website let alone through emails makes one question the actual validity of the item for sale

Communication is important, they don't think it is

Shame because as a blind buy I don't particularly trust this company...

 

I might call Vangelis and see if he will make me an exclusive edition, he needs the work

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So, not even a Zimmer score.

 

I think the suits kicked off Johansson because his style would've been too bold for their certified cash-juggernaut (surely Villeneuve would've wanted him as ongoing partner, especially after the twisted score to Arrival). And now it's the Zimmer name rather than the Zimmer product that they're using to sell it up, regardless of quality.

 

Of course, I haven't heard it yet...

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39 minutes ago, Miz said:

I think the suits kicked off Johansson because his style would've been too bold for their certified cash-juggernaut (surely Villeneuve would've wanted him as ongoing partner, especially after the twisted score to Arrival). And now it's the Zimmer name rather than the Zimmer product that they're using to sell it up, regardless of quality.

1

this isn't the film that the 'suits' had any impact on, they really gave DV carte blanche. If there's anyone aside from Villeneuve that kicked off JJ, especially as early as they have (they approached Zimmer/Wallfisch just before completing their first assembly cut), it's Scott. DV spoke in interviews about parting ways with JJ as he needed something a lot closer to Vangelis, but some may read that as PR fluff and it was Sony/Warner who kicked him off. But point is - it's an Alcon/Ridley Scott show through and through, WB have ZERO creative decisions because they invested zero money in the film, if anything Sony should have creative say as they gave 100m but clearly they didn't because otherwise, given Sony's track record, it wouldn't be as good as it apparently is.

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OK, came back from the movie a couple of hours ago.

 

First of all, I KNOW this will be a divisive score -- much like DUNKIRK and Zimmer in general, really. I'm also quite divided myself, but I veer towards liking it overall.

 

The best parts were unquestionably the big, zithering Vangelis chords that Zimmer emulates very well. It sounds just like I expected -- Vangelis channeled through Zimmer. There is hardly any composer alive today more able to do this than Zimmer.

 

Then there were some other elements that were also cool -- a big, dark, male chorus for certain city scenes, for example. Loved it.

 

I'm more torn on some of the percussive effects, and a "BRAM"-like effect that sounds as if a fast motorcycle is speeding up. It's a bit too present for my taste, and not as organic as Vangelis. I'm 100% certain that this particular part of the soundscape will be hated by a lot of people here. I haven't quite made up my mind yet. I don't even know if it's part of the sound design or the music, but I think it's intended as music.

 

Overall, I would say that the score is far more gritty than Vangelis' original. There are few moments of beauty. It also feels like a massive "cushion" in many scenes, with hums in the lower register. The sound is MASSIVE here.

 

Vangelis' "Tears in Rain" cue makes a cameo, but I'm not going to say where.

 

 

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45 minutes ago, Thor said:

The best parts were unquestionably the big, zithering Vangelis chords that Zimmer emulates very well. It sounds just like I expected -- Vangelis channeled through Zimmer. There is hardly any composer alive today more able to do this than Zimmer.

 

Which is no doubt why Zimmer got the gig.

 

I'm not surprised at all the he was able to nail this aspect of it. You're quite right, there's really no one working today better suited for doing this particular job. Including (and perhaps particularly) Jóhannsson.

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2 minutes ago, Thor said:

I think the male choir might be acoustic, but you never know these days.

 

Other than that, I could not make out any acoustic instruments.

 

Was there at any time you felt the score was moving and did justice to the original, or do you feel the movie feels out of place?

I saw the original when I was 13? it was more an art piece than a movie back then, stripping it for what it was back then, one could say it was lacking any real story but eye candy and an aural delight. I have always had a love/hate relationship with BR personally. I recently viewed the 4K print at a major cinema (to my horror some patron decided to walk across our viewing path just as the Batty leap of faith was in full flight, way to ruin an epic moment), and whilst I have seen BR easily over 100 times, I find it a quagmire more than anything

The original cut was a true mess, this was without the Vangelis score and was called Dangerous Days?. If we strip the Trumbull and Vangelis influences, the movie was really nothing at all other than film noir dick story

The original was confusing to say the least, having Ford's commentary made it worse, Yorkin who finally took over made some bad choices imo. It took 35 years to bring the original intention of Ridley's vision? or was it he was just sloppy with some earlier choices. Example given, the pigeon Batty has in the final "Tears in the rain" dialogue, we see a shot of the pigeon take flight of clearly a continuity issue which breaks one of the most important poignant part of the film. Ridley has been cited, we could not get the pigeon to fly in the rain so had to shoot as we did

 

To me the original film was a mess, people over hype it but don't really understand Ridley's original intentions, as he himself never knew them

5 minutes ago, Nick1066 said:

 

Which is no doubt why Zimmer got the gig.

 

I'm not surprised at all the he was able to nail this aspect of it. You're quite right, there's really no one working today better suited for doing this particular job. Including (and perhaps particularly) Jóhannsson.

 

Vangelis himself could have done it

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35 minutes ago, Snake Plissken said:

 

Was there at any time you felt the score was moving and did justice to the original, or do you feel the movie feels out of place?

 

It was at its most Vangelis in some of the huge vistas and establishing shots, when Zimmer used the same kind of highpitched, echoey string sound that Vangelis used in the original. It also subscribes to much of the same organic sound design idea.

 

However, there were other moments when it really stood out in its "massiveness" and was something totally different. What I call the "motorcycle screech" is probably the furthest from the Vangelis sound he gets. But then again, it's a very different film.

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Wrong.

 

But given Johannsson's most popular work, you'd think he'd be one of the names to consider when creating a synth-heavy, atomspheric score along the lines of Vangelis.

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19 hours ago, KK said:

 

Wallfisch on the other hand...

 

benjamin-wallfisch-2.jpg

 

Holy shit, dem Zimmer money at display. 

 

Also, I'm really curious to whom Denis will pick for his next project. JJ? Wallfisch? Zimmer? Other?

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One thing is certain: Tron:Legacy still proudly sits atop the 80's retro electronic score throne. Most of '2049' seems to be purely slow-moving atmosphere, some of the tracks have an agreeable Vangelis vibe (if not to say its outtakes with more bass) but a lot of the 80 minute running time doesn't amount to much.

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I had the pleasure of listening to this today on Spotify and let me tel you, it wasn't a pleasure at all

It sounds like Vangelis on Valium. It feels like some long drawn out soundscape with no real direction. Given I havne't seen the movie yet, I could have this totally out of context, but what I have heard, and I listened to it over 3 times, it just to me tries to do many things yet achieves none. There is a specific piece that reminds me of Man of Steele where the Earth drain scene comes in. It sounds like a similar drive where filter sweeps employed to act as a type of gate, add to this the driving drums and I find this track oh so familiar.

 

Was this really written in 2 weeks when Zimmer was on board?

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54 minutes ago, BloodBoal said:

So, was there any need to try to get the 2-disc limited edition? ;)

 

I bought it purely on the proviso of keeping it sealed, I have the Briefcase 5 disc HD DVD still sealed too

My 2 Disc Laserdisk is still in my collection too. Getting in early could pay off later

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4 hours ago, Snake Plissken said:

I had the pleasure of listening to this today on Spotify and let me tel you, it wasn't a pleasure at all

It sounds like Vangelis on Valium. It feels like some long drawn out soundscape with no real direction. Given I havne't seen the movie yet, I could have this totally out of context, but what I have heard, and I listened to it over 3 times, it just to me tries to do many things yet achieves none. There is a specific piece that reminds me of Man of Steele where the Earth drain scene comes in. It sounds like a similar drive where filter sweeps employed to act as a type of gate, add to this the driving drums and I find this track oh so familiar.

 

Was this really written in 2 weeks when Zimmer was on board?

 

No, it was written over several months, but mostly by Benjamin Wallfisch. If we go by this recent interview, I think Zimmer has served more as producer on this (he's credited with 'synth programming' on the film's end credits):

 

 

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Yeah I dont know if I want to listen to this without getting context first.

I did that for Dunkirk and that didnt work too well

(while Interstellar and Inception were fantastic experiences the other way around)

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About the score: :sleepy::sleepy::sleepy:

 

A Dunkirk II mixed with The choir of Chappie and some of the Wallfisch horror manneirisms. Generic, a Ghost in The Shell II. Pale, had nothing close to Rachel's Song of the first and they not even used the theme of the original movie's end credits. Same TDKR makes a better feeling of BR than this score.

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7 minutes ago, Nick1066 said:

You guys are being way too hard on this score.

 

I agree. I already have some favourite tracks: Summer Wind is pretty good, Suspicious Minds is great, and Can't Help Falling In Love and One For My Baby are splendid.

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Just now, BloodBoal said:

 

I agree. I already have some favourite tracks: Summer Wind is pretty good, Suspicious Minds is great, and Can't Help Falling In Love and One For My Baby are splendid.

 

Zimmer does it again!  He's so brilliant.

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I'm annoyed that there are pop songs mixed between the score cues but other than that, enjoying the light and easy tone so far

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