Mephariel
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Posts posted by Mephariel
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I tried 3 times and still can't get into this score. I honestly feel like every single note I heard from somewhere else already.
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21 hours ago, Quppa said:
Hans Zimmer composed some music (a 'song') for TRON (the cryptocurrency, not the film franchise). I can't find any information about the commission, but I presume he was paid handsomely.
If I have to pick one single that Zimmer did recently where he sticks to the standard generic RCP sound, it would be this one, although I prefer his movie sounds by a mile.
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Classic Scores
1. The Good, The Bad And The Ugly – Ennio Morricone
2. Lawrence of Arabia – Maurice Jarre
3. Spartacus – Alex North
4. The Way We Were – Marvin Hamlisch
5. Shaft – Isaac Hayes
6. The Magnificent Seven – Elmer Bernstein
7. King of Kings - Miklós Rózsa
8. Once Upon a Time in the West - Ennio Morricone
9. The Battle of the Bulge – Benjamin Frankel
10. Love Story – Francis Lai
Modern Scores
1. Interstellar – Hans Zimmer
2. Titanic – James Horner
3. The Lion King – Hans Zimmer
4. Jurassic Park – John Williams
5. Gladiator – Hans Zimmer
6. Tomorrow Never Dies – David Arnold
7. Lord of the Rings: The Fellowship of the Ring – Howard Shore
8. The Land Before Time – James Horner
9. Memoirs of a Geisha – John Williams
10. Pirates of the Caribbean: At World’s End – Hans Zimmer
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1 hour ago, Tallguy said:
Hmmm. That seems the most likely.
OTOH, are there any Emmerich movies you like? I don't like many but the ones I like I like a lot. So unless something looks as dumb as Moonfall or The Day After Tomorrow I'll at least give him a chance.
For me, The Day After Tomorrow is probably his second best film after Independence Day. Everything else is crap. I still can't believe 10,000 B.C. made it into the theaters.
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12 hours ago, KK said:
Popular tracks featuring the piano, sure. But hardly pianistic. They're like pop songs, which is not at all a bad thing, but that doesn't make them great piano pieces.
The piano work in Coward is mostly just fast, repeating arpeggios. Nice to listen to, but doesn't take a strong, or even competent pianist to write.
A good case that comes to mind right now are Philip Glass' etudes. Glass himself has admitted many times to his piano-playing deficiencies. But he wrote those to become a better performer. And those compositions, while simple in design, are quite thoughtful in thinking about the mechanics of piano performance, specifically around what his style demands of the performer. They're excellent piano compositions. The Zimmer/Djawadi examples above might be fine enough pieces but aren't good examples of strong piano writing.
Indeed. And yet Adams' piano works are very pianistic. I'm sure Adams is decently proficient on the instrument, just probably not at a concert-performance level. He certainly knows the language.
But these comparisons are a bit moot because composers in that world are often curating the works around the commissioning ensemble or soloist. The priorities of the writing are different. That's not really how most composers think in the film world.
They are great piano pieces for film. The reason "Light of the Seven" is so popular because it encapsulated the emptions of the storytelling perfectly. The build-up to a grand tragedy. Interstellar is extremely popular because the piano themes captures the mysteries of space, and discovery of science so well. I would argue that the simplicity of those pieces are what makes them powerful. Another example is Giacchino's "Exodus Wounds" in War for the Planet of the Apes. The piano writing is stupidly simple, but it cuts deep.
To me, those pieces work just as well as other complex pieces in other movies. It is all about the story. This is film scoring, not concert writing.
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3 hours ago, Datameister said:
Really puzzling allegations here. HZ got his start as a keyboardist. He may not be a world-class virtuoso, but I'm sure he could get his fingers around something basic like the feather theme. (It's a great theme, but not remotely difficult to play.) And I believe Djawadi started with guitar, graduating summa cum laude from Berklee, so he's probably not the world's worst musician either.
Not only that, I love the composition of Westworld's theme and I think that is just as emotional as the theme in Forest Grump. Maybe technically not as complex, but it didn't need to be. Djawadi also wrote "Light of the Seven," which is one of the most popular piano pieces in recent times. I also love Tennessee as well, and is one of my favorites from Zimmer. As is the theme from Interstellar, including the piano frenzy at the end of "Coward."
So I am not sure what is the relevancy of comparing their writing to Forrest Grump. Silvestri did a great job with that theme, but I think Djawadi and Zimmer's piano themes are beautiful as well.
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2 hours ago, mosabri2 said:
This is a big point. you can record 1 hour of film music in 2-4 hours if it is easy enough. If you compose 2 movies a year, that's only 4-8 hours of conducting. Not very much compared to someone who conducts many times a week.
The only reason I bring up ramin djawadi being a bad pianist, or hans zimmer being a bad pianist is this is how they compose music. They play the music in with a midi keyboard and being bad at piano limits the music you can write. On top of that you would think if you are a composer of 30 years, playing the piano every single day that you would get somewhat good. I called it "kindergarden" level playing, because if you go to piano competitions, kindergardeners play better than that.
In comparison, brian tyler, while no pianist, at least plays at the level I would expect someone to play to not be as limited with composition.To me, this bring up Badzeee's point doesn't it? Brian Tyler is a classical trained composer, and yet he hasn't wrote anything as memorable as Djawadi's GOT theme or ZImmer's Pirate theme. Film composing is mostly about storytelling with music. Tyler has pretty good music knowledge, but as a storyteller, he is average-to-good at best. Personally, I found his music to be cold and calculating, missing a lot of the warmth from top level composers. If you watch him doing a conducting session from "Crazy Rich Asians," it is like he is doing it with his professor watching his every move.
- Badzeee and bruce marshall
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5 hours ago, Edmilson said:
Speaking of Djawadi, isn't he a conductor? I've seen some info that he conducts at least some of his own scores and the GoT concert.
I believe so yes. I think there are a lot of composers that are willing to conduct music in live concerts like Tyler, Desplat, etc. Whether they conduct during the recording for a film is different story. Like what Richard is saying, a lot of them are more focus on storytelling at that point.
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1 hour ago, Ollie said:
I wonder how much of this was a boost from Minus One, plus we never got a true sense of how much box office GvsK could have done because it was released during the Covid period.
I think it is more that once in a while, people need some dumb fun. Dune: Part Two sort of satisfied the epic crave that people had, but not the dumb fun crave. I still don't think Ghostbusters have an audience beyond nostalgic fans.
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23 hours ago, crocodile said:That is probably very true. It reminds me a bit of the situation with Ancient One in Doctor Strange in which director tried to avoid Asian stereotypes/charicatures by casting a white female in the role and ended up being accused of whitewashing. Whether his approached was right, it's a fair debate. But it proves that there's no avoiding criticism one way or another.
Karol
I thought the Doctor Strange choice was more odd. If Jackie Chan could play a stereotypical kung fu master in The Karate Kid, I am sure they could have casted a Asian to be a mystical leader. I mean, they did it anyway with Wong and Mordo (stereotypical black mystic).
Regarding Dune, I think since the story took place on another planet, Villeneuve got it right for having a mixture of ethnicities. With that said, I do get the point about casting more MENA actors. Yes, if they did that, there will still be criticism, but that is not really the point. The point is, at least MENA actors would have an opportunity to be in a world-class Hollywood film.
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On 21/03/2024 at 12:55 PM, Marian Schedenig said:
Kyle MacLachlan is an interesting choice as Bond. I can see Lynch himself as M. Shame Jack Nance and Harry Dean Stanton aren't around anymore to play Q and Felix Leiter. We'll have to do without the Julee Cruise/Angelo Badalamenti Bond song, too. Maybe Zendaya will be Moneypenny.
Kyle MacLachlan can act? Because he certainly didn't do any acting in Dune.
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Honestly, if Austin Butler is British, he would be my pick. He has the looks, the charisma, and the sharp features for Bond.
I also found it curious that Idris Elba has always been linked to a black Bond even when Chadwick Boseman was still alive. Because Boseman would have made a terrific Bond. The magnetic tension he has with ScarJo in this scene is what Bond should have with women. But again, he isn't British.
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31 minutes ago, Edmilson said:
David Leitch wouldn't be a bad choice but I think he may be a bit too stylish. Also, his last "big blockbuster for a huge franchise" Hobbs & Shaw was horrible. Universal made him do a $200 million movie and the results were far less impressive than his other movies with a smaller budget.
Chad Stahelski may be the "better" half of the John Wick duo, but so far he only directed John Wick movies... lol. Still, if they gave him Bond I wouldn't oppose.
Neither Nolan or Villeneuve are "fun" enough for Bond (even though I liked the moments of humor in Dune 2).
Whoever gets chosen should be instructed to do a fun and competent popcorn movie, like the ones Campbell used to do. Problem is, after Sam Mendes I think Eon now sees Bond movies as "high art" and not just entertaining action movies.
Gosh you are right. I meant to say Chad Stahelski because I was thinking about John Wick, Chapter 4.
I just found it weird that a lot of Bond fans consistently want Bond to have less dramatic depth. Instead of adding more character and drama, let's be more like Fast and Furious and Transformers! Sure, Bond should be entertaining, but I don't want it to be just another action film.
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4 hours ago, Naïve Old Fart said:
Keep Wishaw, Fiennes, and Harris.
Don't let Lashana Lynch, or Zimmer, or Nolan anywhere near this film.
Bring Martin Campbell back.
LOL, I have the near opposite opinion.
Please let Nolan or Villeneuve take a shot at this. Bond deserves to be in the upper echelon of technical filmmaking. Martin Campbell is 80 years old, and hasn't made a great film in years. If you want Campbell, why not just get David Leitch? He is a younger, more stylish Campbell.
Bring on Zimmer or Göransson. I would actually love to hear a Göransson Bond score.
But I agree with keeping Wishaw, Fiennes, and Harris but I also don't care that much. I am indifferent to Lynch.
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4 hours ago, Edmilson said:
If their choice is indeed ATJ, it means that they're going again with the "young and inexperienced Bond" route of Casino Royale, which is not exactly what I personally would like to see from this franchise. Give us a 40-something Bond that is already an experienced superspy instead of "the rookie that made mistakes that will haunt him for the rest of his life". We already got that 18 years ago.
Maybe, but then again James Bond is not exactly a difficult and complex Shakesperean part that would require a thespian with the talent of Laurence Olivier.
I somehow doubt they would do a 40 something year old Bond. It takes them 4 years to make a film. He would be 50 in no time, and approaching 60 after 4 or 5 films. Not sure how they are going to attract a younger generation with a 50 year old Bond again.
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The music out
43 minutes ago, JNHFan2000 said:Anyone have thoughts on this?
I haven't been able to see the series yet, but I did listen to the album ones and it didn't do a lot for me.
Southall does make a point here that it feels like this score was wrong for this series.
I only listened to it outside the series, and it is a ok score. Nothing really stood out, but quite accessible.
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Breaking just now...
The Supreme Court on Saturday agreed to decide whether the love theme "A Time of Quiet Between the Storms" can also act as a representation for House Atreides. In a one-page unsigned order, the justices ordered a federal appeals court to continue to keep on hold the distribution of the Dune: Part One sketchbook album in order to mitigate the possibility of evidence tempering. Composer Hans Zimmer dismissed the case, arguing that he has Oscar immunity, and cannot be persecuted for musical abstraction, a crime that carries up to 20 years in Clemmensen asylum. "I hate to call it a love theme," he added, "because it is so much more." He has yet to explain what "more" means. His assistant composer Steve Mazzaro emotionally urged the court to drop the case pleading that "Love is universal and can represent all things."
Source: Deadline
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5 hours ago, Giftheck said:
The main theme for Godzilla X Kong: The New Empire
It's...a step towards the right direction, but I wouldn't even say it is good. I usually don't mind synths, but the retro ostinatos around 1:17 sounds kind of odd and took me out of the tune for second. The main theme is a bit too nondescriptive and none of the composition really gel together that well. Lastly, it is just too on the nose. I get it, they are huge creatures, but I don't need every note to remind me of that.
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What?
https://collider.com/patty-jenkins-claims-rogue-squadron-still-happening/
So how long before another article reads, "Jenkins' Star Wars film is no longer happening?"
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Watching Constellation on Apple TV. It is keeping me engage, but I am not complete sold this is going to end up in a satisfying manner yet.
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It was probably King Solomon's Mine. And I am going to double down and say the main theme is one of his best (Some people make fun of it as a parody Indy score).
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26 minutes ago, MaxMovieMan said:
The bagpipe theme is actually the same melody as the beginning of House Atreides and the love theme if you slow it down and change the tempo a bit.
And thus the debate. For me, I have no stakes. To me, it is clear the theme is both a love theme (primary) for Paul and Chani, and a theme for the evolution of House Atreides (secondary). The film hinted this as well. If you recall, "A Time of Quiet Between the Storms" plays during the kiss scene, but also immediately serve as the background music for the montage that follows showing Paul's integration into Fremen culture. Zimmer also hinted this by saying "I hate calling it a love theme because it is so much more than that."
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27 minutes ago, TheUlyssesian said:
can we verify this? are there film clips on youtube that show the scene where the theme plays in part 1?
The second half of "House Atreides" is feature prominently here. Part of the stanza bleeds into Paul and Chani's theme, but it is not quite the theme either.
Starts at 1:22
During the Armanda scene, the theme appears briefly
Starts at 2:03
The entire 3:30 segment opening of "House Atreides" is only on the sketchbook in Dune 1, but is feature prominently in Dune 2 as the love theme. What was actually played in Dune 1 does contain some variations of it, but never the whole thing.
Furiosa: A Mad Max Saga
in General Discussion
Posted
Finally another score where I can add something to my workout soundtrack list.