[Justin Hurwitz's FIRST MAN (2018)]

3 hours ago, KK said:

The main theme? No. But the staging of the Apollo 11 Launch cue (percussion and all) is somewhat similar. At the time, I was thinking more of The Last of the Mohicans though. 

FTFY

 

Now I listen to it again and the U93 one, yeah the similarity is a bit striking - do wonder if that's what Chazelle temped onto the sequence when editing.

[Justin Hurwitz's FIRST MAN (2018)]

Some of the score here. clip obviously quite cut down. Would say don't watch it because it's something else on the big screen

 

[Justin Hurwitz's FIRST MAN (2018)]

19 hours ago, Dr. Know said:

That video has been deleted... anywhere else to hear this?

Yeah, Universal ended up blocking it... You can hear it (and the last minute or so of the Apollo 11 Launch cut) at the start here:

 

Official cover art:

[Justin Hurwitz's FIRST MAN (2018)]

Sorry, *another* bump. Firstly - 

 

Secondly, thanks to the powers of Shazaming this preview (it was from the Paris premiere livestream , also has a short snippet of the Apollo 11 launch cue) got the full tracklist for the album (although it does look more like the 'complete score' cue sheet) out of order. Looks like we'll be getting an almost-complete 2CD release...

 

Quote

Crater

Apollo 11 Launch

Spin

Dad’s Fine

Moon Walk

Squawk Box

Translunar

Whitey on the Moon (Leon Bridges)

Multi-Axis Trainer

Armstrong Cabin

Karen

I Oughta Be Getting Home / Plugs Out

Tunnel

The Armstrongs

Good Engineer

X-15

First To Dock

News Report

Elliot

Naha Rescue 1

Home

Pat and Janet

Searching For the Aegena

End Credits

Another Egghead

Sep Ballet (Bonus Track)

The Landing

Lunar Rhapsody (Les Baxter)

Docking Waltz

Houston

It’ll Be An Adventure

Contingency Statement

Moon

Baby Mark

Neil Packs

Quarantine

Sextant

 

[Justin Hurwitz's FIRST MAN (2018)]

Sorry, third time bumping this - some of the score in first 20 seconds of this - 

 

As well as throughout these:

 

[Justin Hurwitz's FIRST MAN (2018)]

 

[Justin Hurwitz's FIRST MAN (2018)]

TINY bit of the main theme from Hurwitz at the start of this 

 

[Justin Hurwitz's FIRST MAN (2018)]

Now available to pre-order. Looking the UPC up on other sites seems it will come in a digipak edition also https://www.amazon.com/gp/product/B07GRLVRYG/?tag=gnugk-20

[Justin Hurwitz's FIRST MAN (2018)]

Quote

Throughout production, Chazelle’s composer, Justin Hurwitz, was conjuring themes and motifs for the film. He first started plugging away in March of 2017 as pre-production began in earnest. There were a few words right off the bat that Chazelle had in mind to help inform what Hurwitz was searching for at the piano: grief, loneliness, but also beauty, and that contrast was what would need to be baked into the music.

“Damien told me a couple of years before we even got to the piano that this score had to sound completely different than anything we’ve ever done,” Hurwitz, a two-time Oscar winner for “La La Land,” says. “So I knew as soon as there was a basic theme composed, I had to basically start learning new things and ways to make it sound different.”

Chazelle suggested a theremin early on, so Hurwitz picked one up and started learning how to play it. He got some vintage synthesizers, like a 1968-model Moog, and began learning by way of YouTube how modular synthesis works.

“It’s this old style of synth where you have to patch it with all these cables,” Hurwitz says. “Then I started playing around with other production stuff, things that we would use to process the orchestra and make it sound different. We knew we were going to record a big orchestra for it because we needed it to be big and emotional, but we didn’t want it to sound like a traditional orchestra.”

Hurwitz had never really produced music in the past, so he had even more to learn in order to develop the music in a unique way. He put all of the strings through a couple of processes that gave it a kind of “shakiness” that he thought felt organic to the way Chazelle and Sandgren were shooting the film.

“Neil is so outwardly steady, but there had to be nerves there and I thought that maybe spoke to how he was feeling,” Hurwitz says. “And also, emotionally, he’s fragile, more fragile than he lets on.”

Hurwitz became something of a mad scientist on the project. For example, he recorded all the strings — violas, violins, cellos — separately and ran them through a rotor cabinet that housed a spinning speaker. He then re-recorded the playback as they moved the cabinet around the room, placing it where the actual players had been.

“That gave it this weird, other-worldly kind of flutter to it,” he says. “Then I put it through a tremolo to give it the second layer of flutter, and then violins, basses, cellos were all given different rates of flutter. So there were all these flutters that were in conflict with each other.”

The result is something, indeed, completely different from his previous collaborations with Chazelle, and an element of the film that accounts for a considerable amount of the story’s emotional impact.

https://variety.com/2018/film/awards/how-neil-armstrong-biopic-first-man-achieved-lift-off-1202925131/amp/?__twitter_impression=true

[Justin Hurwitz's FIRST MAN (2018)]

14 minutes ago, Disco Stu said:

But nothing in this new one?

No

[Justin Hurwitz's FIRST MAN (2018)]

Here's the new trailer that arrived today btw.

 

 

If you guys go back to Trailer 1 - that first bit before the Universal logos, that's from the score.

[Justin Hurwitz's FIRST MAN (2018)]

7 minutes ago, Disco Stu said:

I have no problems with electronics but is the actual music any good?  Is it anyway memorable or is it merely functional?

A lot of it functional but a good number of memorable cues for sure, once we get to the moon mission itself especially. Hurwitz definitely isn't phoning it in with the electronics like some have been fearing, it's just that Chazelle evidently didn't want the music to be the driving force of the entire film like his previous ones, just in a few select sequences. 

[Justin Hurwitz's FIRST MAN (2018)]

Just out of screening. Let's talk score - it's gonna piss quite a few of you (or at least the FSMers) off because fully orchestral this is not. In fact this film is a lot less music driven than all of his previous ones. The feel overall is very Gravity in that mix between electronics and orchestra, and there's a little bit of that theremin in there too! (You think it's a choir boy but....very nicely done). There are a few fully orchestral cues though which are highlights and there are moments in the film that the score takes center stage 

 

Potential musical spoiler:

Spoiler

Hurwitz basically apes Blue Danube in one sequence though, I think that scene was meant to be this 2001 homage, it may take some out of it but I loved that.

The film is quite brilliant too. Perfect balance between focusing on Armstrong the man and the space programs

 

[Justin Hurwitz's FIRST MAN (2018)]

Someone on another forum said that apparently Hurwitz's name on the end credits got the second loudest applause at the press screening this morning.

[Justin Hurwitz's FIRST MAN (2018)]

Now up on Amazon with Oct 12 date, no pre-order though. https://www.amazon.com/First-original-Soundtrack-Justin-Hurwitz/dp/B07GRLVRYG/ 

 

Seeing this tomorrow at the Lido...cannot wait.

[MISSION IMPOSSIBLE: FALLOUT (2018) - Film & Score]

Isolated score is coming - 

 

McQuarrie and Balfe will also be doing a podcast on the score

 

 

[Justin Hurwitz's FIRST MAN (2018)]

47 minutes ago, SUH said:

 

He was conducting the score in May also!

 

Hurwitz cancelled an event in London due to 'work commitments', and confirmed he had been recording the First Man score that week.

 

I will be interested to see how different this score sounds to his previous works - particularly the more ambient/thriller writing from the Whiplash underscore.

 

Huh, so I guess the question is whether he was just splitting time and just recording additional cues, or re-did the score following the test screenings (apparently most people at that first screening didn't like it)....

 

And yeah, he was due to conduct the La La Land Live to Projection performances here that week, I remember.

[Justin Hurwitz's FIRST MAN (2018)]

Hurwitz is recording the score this week. Seems all the theremin stuff from test screenings was temps

 

 

[Justin Hurwitz's FIRST MAN (2018)]

Back Lot Music will be releasing the score - 

 

 

Also, 4-minute preview (extended clip from film + short sizzle) is screening in North American IMAXes with Mission Impossible. No score in that snippet.

[MISSION IMPOSSIBLE: FALLOUT (2018) - Film & Score]

1 hour ago, Mr. Who said:

Film music media did an interview with balfe about mi6

 

EDIT: finally got a chrono order down for this

 

Quote

1. A Storm Is Coming (Logos)
2. Should You Choose To Accept...
3. Good Evening, Mr. Hunt
4. A Terrible Choice
5. The Manifesto
6. Fallout (Main Titles)
7. Your Mission
8. Free Fall 
9. The White Widow
10. The Exchange
11. Escape Through Paris
12. Steps Ahead
13. We Are Never Free
14. No Hard Feelings
15. Stairs and Rooftops
16. Kashmir
17. Fate Whispers To The Warrior
18. The Warrior Whispers Back
19. Unfinished Business
20. I Am The Storm 
21. Scalpel and Hammer
22. Cutting on One
23. The Last Resort
24. Mission: Accomplished (Curtain Call)
25. Change of Plan (not in film)
26. The Syndicate (not in film)

 

[MISSION IMPOSSIBLE: FALLOUT (2018) - Film & Score]

Interview and video feature with Balfe - https://variety.com/2018/music/news/mission-impossible-theme-score-fallout-1202887006/

[MISSION IMPOSSIBLE: FALLOUT (2018) - Film & Score]

9 hours ago, Nick Parker said:

I guess that's...kind of admirable? But:

 

Did he think audiences would watch this movie and say, "Wait, this feels like the same creative footprint behind the last movie! That's not why I watch Mission: Impossible! I'm outta here!"

 

Hope he didn't burn any bridges with his usual collaborators through this move, and that he would have had the courtesy to let them know his motives.

The producers and Cruise always saw MI as a playground for different directors each time, they never wanted to stick with one person. Until McQuarrie did so well with Rogue Nation that Cruise asked him back. There was a bit of apprehension from people at the time about his decision to return as, sure, RN is great but people had come to expect a different director for these films every time. 

 

And I keep banging on about this, see the damn film before jumping to conclusions about whether McQuarrie doing that and ditching most of his collaborators is bad or not. Or are creative partnerships more sacred over anything else?

[MISSION IMPOSSIBLE: FALLOUT (2018) - Film & Score]

Had a go at putting together a chronological order after seeing the film again today...looks like also a lot of editing was done in the film versions of the score cues. As per the norm with Zimmer stuff I guess.

 

Quote

1. A Storm Is Coming (Logos)
2. Should You Choose To Accept...
3. Good Evening, Mr. Hunt
4. A Terrible Choice
5. The Manifesto
6. Fallout (Main Titles)
7. Your Mission
8. Free Fall 
9. The White Widow
10. The Exchange
11. Change of Plan (that's the only cue I can't place...could go before/after No Hard Feelings?)
12. Escape Through Paris
13. I Am The Storm (another one I can't seem to place)
14. Steps Ahead
15. We Are Never Free
16. No Hard Feelings
17. Stairs and Rooftops
18. Kashmir
19. Fate Whispers To The Warrior
20. The Warrior Whispers Back
21. Unfinished Business
22. Scalpel and Hammer (lol at that mistake in the tracklist)
23. Cutting on One
24. The Last Resort
25. Mission: Accomplished (Curtain Call)
26. The Syndicate (Suite)

 

[MISSION IMPOSSIBLE: FALLOUT (2018) - Film & Score]

6 hours ago, Disco Stu said:

 

I don't think the two are separate.  Music written "purely" for a film doesn't need to be synonymous with "unengaging on its own" to me.

 

I do think it's interesting how really liking a film can make a piece of music you previously did not find engaging suddenly interesting to listen to, just because of the scene it accompanied in your memory.  Like, the structure of the piece suddenly makes itself obvious to you in a way it wasn't before.

That's really the thing with the FALLOUT score for me. Without the moments from the film in mind and how well it works in those moments in the back of my mind I wouldn't enjoy listening to the score nearly as much.

[MISSION IMPOSSIBLE: FALLOUT (2018) - Film & Score]

I'll concede this point - maybe he could have tried asking Zimmer himself to return? (or maybe he did and then, like Zimmer did to Villeneuve with 2049, directed him to Balfe/Wallfisch)