458 replies to this topic

[Sandor]

That's fair. I've certainly been disappointed on things on the first listen and grew to like them. I had assumed you had listened to it more than once by now

I had that with HP1... I now consider it a top 10 JW score.

[Alexander]

This is an awesome OST. I must have listened to it dozens of times now and i find it to be amazing!

[king mark]

Twice, but on my ipod not in the best listening conditions

I'll give it a more critical listening

[Quint]

I just can't wait to see the movie now, because I have a feeling there's gonna be some awesome variations and extras in there which might just take this score to the next level.

[Alexander]

I just can't wait to see the movie now, because I have a feeling there's gonna be some awesome variations and extras in there which might just take this score to the next level.

+1

Can't wait for Sunday!!

I LOVE Clash of the Cranes, it's an awesome track.

[king mark]

In a way I hope all the good music is on the OST

Because I suspect what was left off will never, ever be released

[Alexander]

Don't worry guys, i will make a complete report Sunday after i have seen the film.

[Quint]

I remember Avatar omitted one of my favourite cues from the ost.

[king mark]

Don't worry guys, i will make a complete report Sunday after i have seen the film.

Can Jason unlock my friggen thread now?

[publicist]

It's perfectly good John Williams...he even refrains from the xylophones in the action music.

Some of the more underscore-y tracks/moments do not engage me much, but what can you do for boy-sneaking-around-for minutes-in-darkened-manor scenes.

There's one thing, though: it feels incomplete, as if all the ideas presented needed more breathing space and are somewhat cut off before they could get their moment in the sun.

[Quint]

Don't worry guys, i will make a complete report Sunday after i have seen the film.

Is it out throughout Europe on Sunday? If it is I'm there.

[king mark]

There's one thing, though: it feels incomplete, as if all the ideas presented needed more breathing space and are somewhat cut off before they could get their moment in the sun.

Yeah I think that's where I'm getting at. It remains to be seen if microedits and album presentation are at fault

[Quint]

There's one thing, though: it feels incomplete, as if all the ideas presented needed more breathing space and are somewhat cut off before they could get their moment in the sun.

That I agree with. As an album it's lacking a satisfying arc. As I said earlier though - I tend to cherry-pick what I want with these things and on that account I can say I'm very pleased with it.

Of course, I'm sure Thor will say the ost presentation is PERFECT.

[Alexander]

Don't worry guys, i will make a complete report Sunday after i have seen the film.

Is it out throughout Europe on Sunday? If it is I'm there.

Only here in Belgium i guess.

It's the Flemish version though. But they don't show the English version in the morning.

[Quint]

Ah, ok thanks.

[publicist]

Of course, I'm sure Thor will say the ost presentation is PERFECT.

Well, since specially trained experts with with decades of experience in the scholarly field of 'Soundtrack Album Producing' have confected it, how couldn't it be?

[Quint]

Exactly.

[ChrisAfonso]

Great analysis, Incanus! It really shows that you already spent much time digging into the depths of the score

One thing I think I can add is a hidden foreshadowing of Haddock's theme in track 5 ("Marlinspike Hall"). Starting at roughly 2:40, there are several statements of a melodic idea (first on celesta, then on strings) with a familiar rythmic structure, that seems to be closely related to the theme. Here is the original Haddock theme, stepwise transformed into this melodic idea:

Interestingly, this idea also bears close resemblance to the final phrase of the original theme, with the two descending groups of 3 exchanged, and with a similar (filled in) motion from dominant (a) to tonic (d):

(Click on the images for midi samples)

I guess that this disguised variation hints at a (later to be revealed) connection between the Hall and Haddock
(Of course, I could be wrong, no way to know until seeing the film )

Disclaimer: Notation samples are not necesserily in the same key as the recording.

[Jason LeBlanc]

Can't wait for Sunday!!

BTW, I thought the movie opened on Wednesday. How do you get to see it on Sunday?

EDIT: Posted before I saw you had already answered

[Alexander]

(i will be sitting in the middle of the theater).

[Jason LeBlanc]

In a way I hope all the good music is on the OST

Because I suspect what was left off will never, ever be released

I fully expect lots of it to show up on the menus and special features of the DVD, like with KOCS.

[Alexander]

Can't wait for Sunday!!

BTW, I thought the movie opened on Wednesday. How do you get to see it on Sunday?

Avant-première.

[Incanus]

In a way I hope all the good music is on the OST

Because I suspect what was left off will never, ever be released

I fully expect lots of it to show up on the menus and special features of the DVD, like with KOCS.

Yes I hope there is a collection of animatic sequences with their original unedited score and no SFXs.

[Jason LeBlanc]

(i will be sitting in the middle of the theater).

I had to edit the rest of your post. You can't talk about that on the main board, man!

[Alexander]

Why can't i talk about removing voices?

EDIT: Never mind!

[Jason LeBlanc]

Great analysis, Incanus! It really shows that you already spent much time digging into the depths of the score

One thing I think I can add is a hidden foreshadowing of Haddock's theme in track 5 ("Marlinspike Hall"). Starting at roughly 2:40, there are several statements of a melodic idea (first on celesta, then on strings) with a familiar rythmic structure, that seems to be closely related to the theme. Here is the original Haddock theme, stepwise transformed into this melodic idea:

Interestingly, this idea also bears close resemblance to the final phrase of the original theme, with the two descending groups of 3 exchanged, and with a similar (filled in) motion from dominant (a) to tonic (d):

(Click on the images for midi samples)

I guess that this disguised variation hints at a (later to be revealed) connection between the Hall and Haddock
(Of course, I could be wrong, no way to know until seeing the film )

Disclaimer: Notation samples are not necesserily in the same key as the recording.

Holy hell man! That's amazing! You're awesome for discovering that, and Williams is a genius for doing that! Wow!

[Incanus]

A really great find Chris! Yet another thread connected through the score! I thougth that unique passage sounded familiar.

[Jason LeBlanc]

Yea! I noted that passage as being a possible theme, but then it never popped up anywhere else so I dismissed it. I never noticed it was Haddock's Theme backwards!

[Ricard]

it feels incomplete, as if all the ideas presented needed more breathing space and are somewhat cut off before they could get their moment in the sun.

Exactly.

[fommes]

I'm going to love this discussion. Those few very vocal people crapping all over on the great Deathly Hallows Part 1 score for not approaching it like Williams - and now Williams is taking pretty much the same approach in Tintin.

[Jason LeBlanc]

Tintin is NOTHING like the Deathly Hallows score. I don't even know where you get that from.

[filmmusic]

I don't know the Deathly Hallows score at all. What approach do you mean?
with the "incomplete" themes?

[fommes]

Tintin is EVERYTHING like Deathly Hallows Part 1. There's a plethora of themes, but all of them are popping up as motifs and variations all of the time, rather than as straightforward themes over several measures - and take some time to be properly recognized.

[Jason LeBlanc]

All the TIntin themes are instantly recognizable and memorable.

I've seen DHpart1 twice and listened to the CD once and couldn't tell you what a single theme from the score sounded like

[Incanus]

All the TIntin themes are instantly recognizable and memorable.

I've seen DHpart1 twice and listened to the CD once and couldn't tell you what a single theme from the score sounded like

Yeah I can't say Desplat is in Williams' league when it comes to writing themes, very few are.

[fommes]

All the TIntin themes are instantly recognizable and memorable.

I've seen DHpart1 twice and listened to the CD once and couldn't tell you what a single theme from the score sounded like

The motifs in both scores are equally recognizable. (But that's not even the point entirely, I was more talking about the approach.)
1) I have no problem identifying all the themes in Desplat's score, like many others here.
2) You've already forgotten how there were loads of members confused about what exactly the theme was in some of the Tintin samples. It's easy if you've got the sheet music a year beforehand. In the meantime you've got people complaining about some MV characteristics and about no concert arrangement and clear-cut thematic statements. Where have we heard that before

[Romão]

There are 3 concert arragementes in this, what are people complaining about?

[crocodile]

They mean like a Captain America march that was lacking from that album. That kind of in-your-face arrangement.

That kind of thing that they later record for compilations.

Karol

[Jason LeBlanc]

Do people think the changeover from "Introducing The Thompsons" to "Snowy's Chase" happens at 2:11 or 2:16?

Does this video help at all?

[nightscape94]

Anyone else noticing that the Unicorn theme and part of the beginning of Tintin's primary theme have a similarity? If I put them in the same key:

Unicorn: B, D, F#, G, F
Tintin: F#, B, F#, G, D

Especially the way they sound starting on the B of each phrase, a similar up and down. I immediately felt like there is an intentional correlation, but maybe I'm reading too much into it. Just go by how they sound. It's like the Unicorn theme is a haunted version of Tintin's own theme.