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KK last won the day on April 16 2016

KK had the most liked content!


About KK

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    Karl Ulrich Nikolaus Traeger
  • Birthday June 13

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  1. The Handmaiden This is my first film of Park Chan-wook of Oldboy fame. I was surprised by how elegantly restrained the first act was. It felt like I was watching an Ivory-Merchant film set in Korea. Then it broke into its more subversive erotic thriller tropes, with twists and turns reminiscent of Parasite Bong Joon-ho's brand of narrative storytelling. By the third act, the film gets a little outlandishly indulgent, but it holds the ship together. It is remarkably sensual and not in an exploitive way, thanks in large part to the lead playing Lady Hideko, who oozes repressed longing in every glance. And for all its perversions, the whole thing is surprisingly sweet. With everything from framing, sets and score so earnestly realized, it's hard not to be swayed by this one.
  2. Some fairly boring choices, to be honest. It mostly looks like a general Greatest Hits list assembled with his favourite composers.
  3. Bombshell It's no Big Short. A bit too stale and muted for that, but it has its moments, where you get a sense of the culture of defending creeps over at Fox at the time. Lithgow as a shouty Ailes nails it, and Theron disappears into Kelly, even if its a little too calculated in my opinion. But the whole thing is just kind of flat. The score had some interesting moments though. Burning A much subtler slice of auteurship than South Korea's more popular Parasite. Lee Chang-dong has a more dreamy language to his storytelling. This film is not interested in providing answers, but does ask for an attention to detail so that we probe deeper into its characters over the mystery it's built on. Beautifully shot, there is clearly a lot of great work happening in South Korean cinema.
  4. Giacchino and Desplat are in their 50s. Williams was in his 50s in the 80s/90s, when he was basically scoring everything and anything (to some extent). Williams is also probably not equipped to handle haphazard modern blockbuster scoring schedules at this point. I'm sure Star Wars probably took quite a toll on him. It's why he's keen to work with those who can accommodate to his process more, rather than the other way around. And that's mostly just Spielberg, really.
  5. Spotify was in shuffle mode, and this came up. I always assumed the score was mostly unlistenable away from context, but was pleasantly surprised by this:
  6. I don't know where I gave up, but I got pretty bored with the new season.
  7. David Lynch interrogates a monkey for 17 minutes. And it is glorious. Brought to you by Netflix.
  8. The Last Samurai by Hans Zimmer King Arthur by Hans Zimmer Gladiator by Hans Zimmer Was in the mood for some old school, New Age, testosterone-fuelled Zimmer.
  9. Looks like the Instagram-friendly version of Star Wars!
  10. Yea, but I think often the filmmakers/studios want Zimmer's brand on their product. That's what they're paying good money for. Even Angels and Demons, is primarily a Zimmer score through and through I believe, with additional music provided by the team.
  11. Gladiator, The Lion King and The Prince of Egypt had loads of people working on the score. And those were all big passion projects for him. His process is just enormously collaborative, like a producer. But yes, it is true, certain projects only have Zimmer's most cursory involvement, just to leverage his brand on the cover. And you're right, when he's inspired, he manages to change the sound of the industry itself.
  12. Thanks man! Budget was pretty tight for this, so the studio we ended up recording at wasn't very good, and the time was pretty tight, so the recording quality kind of suffered. Thanks man. Appreciate it! Technically the "suite" is really just a compilation of various film cues, so it's not quite an entire piece. But I tried to sequence it so you could hear the musical themes/ideas evolve across the span of the score. There's also some other music that didn't quite make it. As for the piano...well I wanted to record with a grand, but we couldn't arrange anything for the main session. So we had to do the piano recording separately, at a friend's home, and our recording equipment just really sucked. So we ended up with this very wet, aged sound for the piano. Here's the film by the way, if you guys were interested in watching it:
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