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Hugo


tannhauser

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I dunno, it's going to be hit or miss like Tintin. Both Scorsese and Spielberg are on the line this fall

I don't like the song they use in the trailer to try and "sell it"

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I never heard of the book, is it supposed to be a Harry Potter type thing?

Trailer does looks like it has real sets and not too CGI driven visuals

And another movie that has a "dumbed down" title for the average American movie goer

License Revoked>>>>License to Kill

Harry Potter and the Philosopher's Stone>>>>>Harry Potter and the Sorcerer's Stone

The Invention of Hugo Cabret>>>>>>>Hugo

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I never heard of the book, is it supposed to be a Harry Potter type thing?

Trailer does looks like it has real sets and not too CGI driven visuals

And another movie that has a "dumbed down" title for the average American movie goer

License Revoked>>>>License to Kill

Harry Potter and the Philosopher's Stone>>>>>Harry Potter and the Sorcerer's Stone

The Invention of Hugo Cabret>>>>>>>Hugo

You forgot;

John Carter of Mars>>>>>>>John Carter

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I never heard of the book, is it supposed to be a Harry Potter type thing?

Trailer does looks like it has real sets and not too CGI driven visuals

And another movie that has a "dumbed down" title for the average American movie goer

License Revoked>>>>License to Kill

Harry Potter and the Philosopher's Stone>>>>>Harry Potter and the Sorcerer's Stone

The Invention of Hugo Cabret>>>>>>>Hugo

Actually, it's "Licence To Kill". ;)

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The Eagle of the Ninth>>>>The Eagle

The Bear and the Bow>>>>Brave

but then there's

The Hobbit<<<<The Hobbit: An Unexpected Journey and The Hobbit: There and Back Again

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And another movie that has a "dumbed down" title for the average American movie goer

License Revoked>>>>License to Kill

Harry Potter and the Philosopher's Stone>>>>>Harry Potter and the Sorcerer's Stone

The Invention of Hugo Cabret>>>>>>>Hugo

John Carter of Mars>>>>>>>John Carter

The Eagle of the Ninth>>>>The Eagle

The Bear and the Bow>>>>Brave

but then there's

The Hobbit<<<<The Hobbit: An Unexpected Journey and The Hobbit: There and Back Again

And The Adventures of Tintin: The Secret of the Unicorn>>>>>The Adventures of Tintin for American audiences. (?)

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  • 3 months later...

You wait though...with all the praise Williams has been getting, as well as Shore, someone will come out of the woodwork with some truly awful score that will win the oscar instead of one of these fine two gentlemen. It will happen. :)

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Can't wait for the score. Shore's music always interest me. The movie also looks interesting. Scorsese was the last person I'd expect directing something like this. Good for him. .

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Well the score sounds quite interesting. A bit more quirky than what I have come to expect from Shore yet displaying some of his trademark sounds. Also this is the second score this year with Tintin to feature accordion quite prominently. I can't wait to hear the complete album. :)

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Sounds a bit like Desplat, no?

It does actually. I will listen to it when it finally comes out here. Seems like Shore has pushed himself out of his comfort zone. Scorsese does wonders indeed.

Film's got very good reviews so far so I might go and see it. Why not?

Karol

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Strangely, we're not getting this movie -- at least not for this week. Not even a 2D print.

I chalk it up to Warner Bros. and Sony booking up the 3D auditoriums for Happy Feet 2 and Arthur Christmas. Hopefully we'll get Hugo on December 2nd or something -- I really want to see this.

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Hey guys,

Over the weekend I watched Hugo. When I initially watched the trailer, I had horrible notions of what this may film may have turned out to be, and even after the overwhelmingly positive critical reactions, I was hesitant. Yet, in the end, I really did enjoy the movie and it turned out to be a delightful surprise.

I also loved the score. Arguably my favourite fantasy score of the year. Judging from how I saw it in film and on album, a wrote a review:

http://musicmusekk.wordpress.com/2011/11/30/hugo-howard-shore/

Now that I'm done with that, I can finally relish War Horse once I get home! I can't wait!!! Expect an in-depth analysis of this score next week.

Hopefully you guys can offer feedback, and do comment on the page!

Enjoy!

- KK

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Also this is the second score this year with Tintin to feature accordion quite prominently. I can't wait to hear the complete album. :)

Actually third. I believe I was actually "first" on this one with Umea4ever released back in April ;)

But seriously, though, it's a wonderful and remarkably flexible instrument! I had the greatest of fortunes working with Norwegian virtuoso and ECM recording artist Frode Haltli, whose skillful, elegant and expressive playing really turned me on to the many possibilities of the accordion, beyond the more generic role typically assigned to it (in film scores and elsewhere). To John Williams' credit, Tintin shows a lot of the accordion's potential as an enhancer of orchestral timbres, as well as its capacity for virtuosity.

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The main theme, especially in the end credits song setting, is absolutely beautiful.

Exactly! It really is a charming score! And the the main theme can really get to you, especially in its more emotionally varied moments. And that end credits song has been played by me quite often recently :P

- KK

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This is out here today, and my brother has wanted to see it ever since we saw the trailer last month.

Not sure about the music though, I heard a few clips and it sounded very french, which is low on my list of tolerances.

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This is out here today, and my brother has wanted to see it ever since we saw the trailer last month.

Not sure about the music though, I heard a few clips and it sounded very french, which is low on my list of tolerances.

Then it might not be your thing at all. It's almost all about French music.

Karol

I find the French music in Hugo soundtrack much better than the one in Tintin. Just sayin'.

Blasphemy! Infidel! Harrumph! Preposterous you bashi-bazouk! Billions of black bristling turtle necks! Philistines! Zimmerites! RCP swabs!

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You like that score, from what I remember.

And yes, it sounds very Desplatian.

Karol

I also surprisingly thought of Jan P. Kaczmarek's score for Finding Neverland when I first listened to Hugo.

Shore's music is rather subtle during most of its running time exhibiting trademark Shore-isms (yes even some LotR ones) coupled with French influence in the form of the small band which the composer said he wanted to perform inside the orchestral ensemble to further enhance the depth and 3 dimensional feel of the music. I found the score quite charming but it rarely reaches 5 star moments as it sounds somewhat restrained, mysterious and melancholic until the finale that has a few livelier tracks. I sometimes wonder if Shore is too intelligent for his own good with his music since I found that the score lacked a truly emotional high point for me.

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I don't know if 'intelligent' is the right word. 'Detached' is more like it, but it may work in the film's favour since a lot of critics do like music which stays emotionally discreet.

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I sometimes wonder if Shore is too intelligent for his own good with his music since I found that the score lacked a truly emotional high point for me.

I sometimes wonder if Williams is too emotional for his own good with his music since I found that War Horse lacked a truly intelligent high point for me.

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You like that score, from what I remember.

And yes, it sounds very Desplatian.

Karol

I also surprisingly thought of Jan P. Kaczmarek's score for Finding Neverland when I first listened to Hugo.

Shore's music is rather subtle during most of its running time exhibiting trademark Shore-isms (yes even some LotR ones) coupled with French influence in the form of the small band which the composer said he wanted to perform inside the orchestral ensemble to further enhance the depth and 3 dimensional feel of the music. I found the score quite charming but it rarely reaches 5 star moments as it sounds somewhat restrained, mysterious and melancholic until the finale that has a few livelier tracks. I sometimes wonder if Shore is too intelligent for his own good with his music since I found that the score lacked a truly emotional high point for me.

I wouldn't say that it lacks emotional high points. There is definitely heart and soul in this score and I'm surprised others on this thread don't hear it. Listen to the more contemplative moments of Hugo's theme and it can really reach you. The score is definitely very intellectual though, comprising of a multitude of themes and motifs that interweave in a manner not unlike LOTR. The melancholic nature of the score is necessary for the tone of the film so I don't think of that as a con (I like it). Moreover, I really felt that Shore masterfully handled the french elements (even better than Williams did, although Tintin is clearly the superior score). As for the Desplat reference. There are moments when Desplat comes to mind, but this score is clearly rooted in Shore's own sound. Just listen to the orchestral clusters at the end of Hugo's Father and you can't help but think LOTR. I've got to say, I'm kind of surprised that no one else really connected to the score. I think this is probably the best fantasy score of the year (but then again, there weren't many classics this year...by any means, this score isn't the best score of the year). I sum up all these thoughts in my review:

http://musicmusekk.wordpress.com/2011/11/30/hugo-howard-shore/

I've really come to like this score. My advice to those who haven't really connected to it yet, give it some time. Like all great scores, this score requires a couple of repetitions to get it.

And Coeur Volant is a fantastic song! A compelling translation of Shore's main themes. Its been played quite often with me.

- KK

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