Gnome in Plaid
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Posts posted by Gnome in Plaid
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Young's score is remarkable, and Thomas Haden Church was quite good. Other than that, it's really a bad movie.
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So, I've been trying to get an answer to this for a while, but haven't had any luck.
In a very touching scene
Spoilerat the end of
the film Fences,
SpoilerMykelti Williamson's character struggles through his brain damage to play the trumpet, and produces
a sound (spoiler for the film) I've heard a few times elsewhere, mainly in a jazz context. One example in particular comes to mind: In Kaze's "Triangle" prominently from 6:32-6:42 and 16:33-17:07.
Is there a name in trumpet technique for this? Obviously the Fences clip isn't intentional in-character, but there would have had to have been a way to communicate that sound to the trumpet performer, and the Kaze clip is obviously intended. How is this sound produced, and how might I notate it?
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This is a good thread!
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I don't think I'm knowledgeable enough to go early than the 70s, but here are my lists:
1970s
Alien
Apocalypse Now
Five Easy Pieces
The Godfather
The Godfather Part 2
Jaws
Patton
Star Wars
Taxi Driver
The Wicker Man
1980sThe Blues Brothers
Brazil
Broadcast News
Empire of the Sun
The Empire Strikes Back
Ferris Bueller's Day Off
The Mosquito Coast
Raging Bull
Raiders of the Lost Ark
The Shining1990s
American History X
Apollo 13
Cobb
The Green Mile
HeatHome Alone
Pulp Fiction
The Big Lebowski
The Silence of the Lambs
Unforgiven2000s
American Gangster
Finding Nemo
Frost/Nixon
The Fountain
The Hours
Kingdom of Heaven
The Lord of the Rings (considered as one film)
Michael Clayton
Sahara (added as an 11th- a little guilty pleasure there)
Synecdoche, New York
The Wrestler2010s
Arrival
Birdman
First Reformed
Lady Bird
Lincoln
Loving Vincent
Manuscripts Don't BurnPrisoners
Silence
Whiplash -
12 hours ago, TheUlyssesian said:
It kinda reinforces the point that these events like GOT and Avengers are almost entirely predicated on knowing WHAT happens. Kinda shows their reductive value of lack of thereof.
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You would think if the stories and movies and shows themselves had more merit, they would not be so completely ruined by spoilers.
Damn... that's pretty much the perfect way of putting exactly what I wanted to say
11 hours ago, TheUlyssesian said:What was the last twist that hit you in a - "I would have never thought of it that way" way. I guess Get Out had a great one. But what other recent movie?
Thoroughbreds?
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On 3/20/2019 at 1:08 AM, Ghostbusters II said:
Amizzzzzzzzzzzzztad.
Whatever you think of the score itself, the sound is absolutely incredible.
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For film, The Silence of the Lambs, easily. It's simply a phenomenal, iconic film. Se7en was also very good, but it was frankly too brutal for my tastes. For score, it's a tougher decision. I actually listen to Silence pretty frequently, and the new complete release is done really well. Clarice's theme is just one of those elemental melodies you can't forget. The one drawback for me is the middle section of the cellar cue. The synths are really out-of-place with the otherwise organic sound of the score. I wonder how Shore would have approached that scene a little later in his career after developing his aleatoric manifesto. Se7en, though, damn... It's Shore at his absolute darkest (well, along with Panic Room). "Wrath" is a nightmare expressed in five minutes. It's musically more interesting than Silence, but I definitely get more out of the earlier score.
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I dare you to find a better-sounding recording than Amistad, in any genre.
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Check out his incredible score for War of the Vendée. It's quite Williamsesque, but never descends to the level of pastiche. A couple of his tone poems also sound just like they could have been unused music from the prequels.
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How much did Conrad Pope contribute to Mortal Engines?
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Oh baby.
The finale with the contrasting strings and guitar/synth? just fascinates me.
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I Am the Senate is a pretty strong contender.
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Deliverer of the greatest one-liner in Bond history:
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10 hours ago, Falstaft said:
Em(7)/Abm
Ah, that's the one I meant to ask about.
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I'm not sure how to name this progression from 1:30-1:41 (what even is that first chord?), but damn do I love it.
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On 1/14/2019 at 6:12 PM, Chen G. said:
Yeah, highland pipes would've just been all wrong for the kind of music he wrote for the film.
As much as Highland pipes would be more ethnically appropriate, Uilleann pipes are far more versatile.
On 1/14/2019 at 6:12 PM, Chen G. said:Plus, good luck recording a highland bagpipe with an orchestra in a room. Brings to mind the horror stories of recording the rhaita in The Lord of the Rings.
Horror stories? I thought the rhaita was recorded separately... Anyway, as someone who's slowly learning to play the rhaita, I'd love to hear those horror stories.
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It frustrates me because these are resources and talents that could be put toward more worthwhile projects instead of corporate-managed algorithmic schlock.
- Chen G. and Jurassic Shark
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Redacted? Aww, I just re-watched Interstellar and wanted to come back to read this again.
Anyway, since this seems to be the closest to an "Interstellar score thread" I've got a question. Supposedly steel guitar is prominent enough that the soloist earned an end crawl credit, but where in the score is that actually audible? I'm guessing the stuff like the higher drone in "Dust Storm" might be a steel played with an e-bow, but Occam's Razor would tell you that's a synth pad. Anyone know where a pedal steel might be clearly heard? Do the live concerts give any clues?
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On 2/2/2019 at 2:03 PM, Kühni said:
Just listened to HS's score to Existenz for the first time. An amorphous drone and 46 minutes of my lifetime that I'll never get back.
Yeah... I have to say that's one of the very few Shore efforts I can't get anything out of. It's basically "Rising Chords of Doom: The Score." I did read something interesting about the way it was produced though, that they close-micd and amplified the quieter sections playing quietly, and muffled anything loud, so it's basically inverting the volume of the orchestra. Actually, I'll admit have a bit of a fondness for the track "It Neural-Surged" since it was a temp track for an abandoned project I was working on.
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Dawning - Dawning is an expertly crafted psychological horror film on a punishingly small scale. Two (not especially close) siblings, Aurora and Chris, join their estranged father and despised stepmother at their remote cabin in the woods, and from the moment the meet, the familial tension is palpable even while they remain amicable. The facade begins to crack when Aurora's dog is found gored and the father decides to euthanize it, followed shortly thereafter by the terrifying arrival of a home-invading, wild-eyed, bloody man who overpowers the family (importantly, a stoned Chris who couldn't bring himself to shoot the man). The man, though, claims to be helping them. "It" killed his girlfriend out in the woods, and he's desperately seeking shelter from this malign entity (although assures them they'll be safe at daybreak). As the family members debate how to handle the situation (particularly whether there is an evil presence in the woods), the fundamentally unstable natures of their relationships become painfully clear, and by zeroing in on their terror, the film never provides any hints as to what truly is happening to them.
SpoilerEven by the end, it's never explicitly said whether a supernatural presence was involved. Personally, I'm inclined to think not. Richard, blackout drunk, was startled by Laura before taking is own life. Chris, established to be quite high over the course of the movie, is paranoid and unsure what's real, and in his utter panic crashes their car at high speed. Aurora, left injured physically and emotionally by the night's events, returns to the cabin in a state of traumatic shock. There's no "evil presence" in the woods: the man murdered his girlfriend and attacked the dog during a psychotic break, and the escalating fear ultimately ended in the characters' fates. Besides, what's scarier--a mind-influencing adverse force stalking the woods, or the knowledge that given enough terror and tension, a family can end their own lives out of fear incarnate?
The scale of the film is remarkably compact: the cast consists of five members total, and the entire plot unfolds at one cabin and its immediate surroundings over the course of a single night. Most films would buckle under such tight constraints, but director Gregg Holtgrewe and his cast (of whom David Coral is particularly notable) adeptly mold that closeness into claustrophobia. A major contributor to that claustrophobia is Nathaniel Levisay's sparsely spotted but devastatingly effective score that often sounds like something you'd find on ScoreFollower. Loaded with extended techniques (I can't actually identify some of them), clusters, and aleatoric desynchronization, the music is perfectly nasty without giving into the cheap stock sounds lesser composers might employ.
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I'd love to see American Gangster done properly, but I think there's not much chance of that any time soon.
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2005 was ridiculous:
Revenge of the Sith
Memoirs of a Geisha
Munich
War of the Worlds
Sahara
Doom
A History of Violence
Kingdom of Heaven
The Lion, the Witch, and the Wardrobe
The Roost
The Chumscrubber
King Kong
Syriana
Hostage
The Exorcism of Emily Rose
Wolf Creek
I'm probably even leaving something out.
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On 12/15/2018 at 2:25 PM, crocodile said:
Yeah, that was the project that led to LOTR ones.
Karol
Wasn't that Naked Lunch?
The Thomas Newman Thread
in General Discussion
Posted
So, I was originally going to come here to ask about some of the underlying "harmonic bed" in "Coffey on the Mile" from The Green Mile, but the album credits seemed to answer my question (bowed travelling guitar, saz, solo violin, some synths, and bowed dulcimer). Those same credits gave me a new question: what the hell is a tonut?