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Posts posted by Under-Terrestrial
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On 29/02/2024 at 9:15 AM, Badzeee said:
I thought it was (the late) Jóhann Jóhannsson who composed Arrival. I can't actually recall a context that a Richter piece was used in...?
Though, because his work is mostly of a minimalist nature, I s'pose that's a gift to filmmakers wanting to track in something that fits the mood of a scene. His work for My Brilliant Friend seems to be assembled from both already existing pieces and the odd new composition. (I may be mistaken - I don't have a physical copy.)
Looking forward to the soundtrack to Spaceman (out tomorrow, as I write this)!
Yup, Jóhann Jóhannsson scored ARRIVAL, and Villeneuve used the existing recording of On The Nature Of Daylight to bookend the film (and I think Johannsson *may* have subtly referenced Daylight in his input, though I'm not sure).
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SPACEMAN - Max Richter
https://music.apple.com/nz/album/spaceman-original-motion-picture-soundtrack/1729872386
Based on the trailer for SPACEMAN (which seems like my kind of sci-fi), muted minimalism might suit this film just fine. But every time Hollywood employs Max Richter, I hope they'll seize on his gift for more outwardly expressive minimalism present in pieces like "On The Nature Of Daylight" and "November" that brought him so much attention. "Memory Is A Voyager" sticks out a bit in this album. I haven't seen a lot of Ricther-scored films (SHUTTER ISLAND and ARRIVAL don't count to me), so as of now AD ASTRA is still the closest I've come to loving a Richter score written exclusively for the given movie (and, as a lot of JWFan knows, even that isn't all Richter).
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SPACEMAN - Max Richter
https://music.apple.com/nz/album/spaceman-original-motion-picture-soundtrack/1729872386
Based on the trailer for SPACEMAN (which seems like my kind of sci-fi), muted minimalism might suit this film just fine. But every time Hollywood employs Max Richter, I hope they'll seize on his gift for more outwardly expressive minimalism present in pieces like "On The Nature Of Daylight" and "November" that brought him so much attention. "Memory Is A Voyager" sticks out a bit in this album. I haven't seen a lot of Ricther-scored films (SHUTTER ISLAND and ARRIVAL don't count to me), so as of now AD ASTRA is still the closest I've come to loving a Richter score written exclusively for the given movie (and, as a lot of JWFan knows, even that isn't all Richter).
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DRIVE-AWAY DOLLS - Carter Burwell
https://music.apple.com/nz/album/drive-away-dolls-music-from-the-motion-picture/1731277127
Theremin! A fun selection of comically-exaggerated caper material! Heartening to know that decades later, Burwell's voices is still fresh and very much his own.
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This is the end credits music, which I'm guessing this YouTuber recorded off their phone in the theater.
Levi + Glazer = Time To Get Your Freak On.
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This is the end credits music, which I'm guessing this YouTuber recorded off their phone in the theater.
First impression was and still is: Levi + Glazer = Time To Get Your Freak On.
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5 minutes ago, Jay said:
Giacchino would probably get the first call, but he might be too busy with Them!
And IF / Inside Out 2! (assuming he returned for that sequel).
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It hasn't been given an official release date, but based on its 2022 announcement and 2023 production, Andrew Stanton's live-action IN THE BLINK OF AN EYE for Searchlight Pictures ought to release this year. I worship Stanton even when he misses, and this film reportedly draws inspiration from things like INTERSTELLAR and MAGNOLIA, which is nothing but good news to me. Hoping for a Thomas Newman reunion!!!
(Also, this is from an original script from Colby Day, whose first produced screenplay, SPACEMAN, is releasing on Netflix on March 1st and seems to have potential!)
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ORIGIN - Kris Bowers
https://music.apple.com/nz/album/origin-original-motion-picture-soundtrack/1725771115
If only because there's still a deficit of high profile composers of color in the industry, I keep hoping I'll love a Kris Bowers score. The closest I've come is Bad Hair, which is a strong horror score, and the Origin samples have some lovely solo string bits here and there, but the harmonic direction of this music is just kind of okay to me (but maybe this is me being just another white guy holding a double standard for white vs. POC composers).
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Because this album is taking its sweet time releasing/getting a proper preview, here's a sample of Mica Levi's Zone Of Interest score 👀
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5 hours ago, GerateWohl said:
When I hear this piece in front of my inner eye I don't really see a conductor conducting and orchestra but rather a DJ at a mixing desk mixing over and over several different layers on the beat.
Which is probably ok for a contemporary score for a sports movie, but not my favourite kind of film music.
I feel this with half of Desplat's scores. His actual writing is always aces to me, this cue included, but I wish the beat overlays were lower in the mix (which is difficult to ask of ever-rhythm-forward Desplat), and the sense of space in the recording stage was fuller.
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BEST [PRIMARILY ORIGINAL] SCORES OF 2023
Winners:
- AMERICAN FICTION - Laura Karpman (biased because she co-taught a poetry+music class during my last semester of undergrad)
- ASTEROID CITY - Alexandre Desplat
- THE BOY AND THE HERON - Joe Hisaishi (***my fave of the group***)
- THE CREATOR - Hans Zimmer
- DREAM SCENARIO - Owen Pallett (no one talks about this one!!)
- ELEMENTAL - Thomas Newman
- THE INVENTOR - Alex Mandel (no one talks about this one either!!)
- OPPENHEIMER - Ludwig Goransson
- PETER PAN AND WENDY - Daniel Hart
- POOR THINGS - Jerskin Fendrix
Pending Viewing:
- ORIGIN - Kris Bowers
- THE ZONE OF INTEREST - Mica Levi
- THE PEASANTS - Lukasz Rostkowski
TOP 10 BEST TRACKS OF 2023
- "Sail Away" - BEAU IS AFRAID - Bobby Krlic
- "The Last Smile" - THE BOY AND THE HERON - Joe Hisaishi
- "Presentation Music" - CHICKEN RUN: DAWN OF THE NUGGET - Harry Gregson-Williams
- "A Place In The Sky" - THE CREATOR - Hans Zimmer
- "I Wish This Was Real" - DREAM SCENARIO - Owen Pallett
- "You Were The Dream" - ELEMENTAL - Thomas Newman
- "Pipes" - A HAUNTING IN VENICE - Hildur Guonadottir
- "Tuk Tuk Chase" (***unreleased second half***) - INDIANA JONES AND THE DIAL OF DESTINY - John Williams
- "The Women Ascend" - THE INVENTOR - Alex Mandel
- "Can You Hear The Music?" - OPPENHEIMER - Ludwig Goransson (sorry, I know this piece is ubiquitous at this point)
- "Neverland" - PETER PAN AND WENDY - Daniel Hart
- "Paris" - POOR THINGS - Jerskin Fendrix
- "Sacrifice And Departure" - KNOCK AT THE CABIN - Herdis Stefansdottir
BEST FILMS OF 2023
Winners:
- AIR
- POOR THINGS
- OPPENHEIMER
- ROBOT DREAMS
- THE HOLDOVERS
- MISSION: IMPOSSIBLE DEAD RECKONING PART ONE
Runners-Up:
- NIMONA
- SUZUME
- NO ONE WILL SAVE YOU
- THE BOY AND THE HERON
- KILLERS OF THE FLOWER MOON
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On 14/12/2023 at 12:29 PM, filmmusic said:
A pleasant surprise!
Although I don't usually listen to such kind of music, I enjoyed this.
Impatiently waiting for this movie's belated release so I can listen to the entire score guiltlessly
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Oppenheimer seems like it has already won, and Killers Of The Flower Moon seems like the only other nominee lock. After that it could be anyone (I'd like to see American Fiction and Society Of The Snow in there).
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26 minutes ago, JNHFan2000 said:
Took a peek at some early IMDB music credits, the common demonimator appears to be John Powell!
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Big new score weekend!
https://music.apple.com/nz/album/next-goal-wins-original-motion-picture-soundtrack/1715022766
I remember reading there might've been two cues tops in this movie, but it sounds like there's more! I'm not sold on this movie on account of its meh buzz. It sounds like Giacchino's taking a breezy "vaguely ethnic" percussion route...
https://music.apple.com/nz/album/saltburn-original-motion-picture-score/1716467942
Anthony Willis got my attention with "Promising Young Woman", and this score seems sonically diverse! A more parodic tone here than the film's trailer led me to believe, at least up front.
https://music.apple.com/nz/album/dream-scenario-original-motion-picture-score/1713748399
I'm most curious about this score. There are shades of Jon Brion's Charlie Kaufman soundscape here (doesn't seem surprising given the movie's Kaufman-esque premise and Pallett's contributions to Spike Jonze's directorial work) with a dash of Randy Newman!
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First two tracks from Jerskin Fendrix's first score for Poor Things! The trailer music is indeed a sample of the score. Appears to be as strange as the movie. I like that we appear to really be Mickey-Mousing here
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4 hours ago, Edmilson said:
Will Giacchino score it?
And most important: when will they announce John Powell as the composer of Elio?
Occasionally I puruse IMDB music credits before composers are announced for hints, and some of the Inside Out 2 music team are frequent Mark Mothersbaugh collaborators 👀
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THE PEASANTS - Lukasz Rostkowski
Haven't seen the film [yet], but this is an immediate winner to me.
The film is the hand-painted followup to LOVING VINCENT (same team), and THE PEASANTS score feels like an extension of Clint Mansell's sumptuous rural atmosphere VINCENT, except now it's party time. It's got one foot in Irish folk music, one in Yann Tiersen's Amelie soundtrack (not just the accordian, but similar rhythm/harmony), and a hand in Bulgarian choral music. This is the first feature score by Polish composer/producer/rapper Lukasz L.U.C. Rostkowski, and I bet he'll be in demand after this.
Opening track is my favorite so far
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3 hours ago, GerateWohl said:
You are mixing up here a lot of unrelated points. A.I. just trained on past works so it has limitations in developing new stiles. Agreed. But that is unrelated to moral.
As well it doesn't make sense to compare the work of an A.I. always with the best and most innovative outputs of humans. If a director wants that, he or she must hire a human composer.
If they just aim for generic fashionable contemporary score, why not go for A.I.?
You can always take the argument. Human can be better than A.I. in creative area. But then, please, be better.
So, looking at the whole A.I. story from a creative point of view, we should be fine.
If you look at the industry from a pure business perspective, it becomes bad. Because the producer might just calculate "With A.I. I might just end up with 60% of creativity and originality and in the end with just 80% of the income, that I would have with human artists. But I might save 50% of production costs, so my win is bigger. Let's go for A.I. And here comes the problem.
But as I said, that always implies that human artists always work 100% original, 100% creative quality, and there are plenty of productions today written by those highly spirited humans, composed by these creative artists and they sound like script and music had been written by a pocket calculator.
So, the A.I. competition as a quality baseline could be a good thing actually.
Correct, I was making a few different, semi-unrelated points that broadly fit under the "A.I. is bad news" umbrella.
The idea that A.I. should be used when producers don't feel like trying hard for something fresh and inspired...man, that is one slippery slope. My baseline belief is that it is fundamentally wrong to give anything other than human beings an inch. Composing, conducting, performing, whatever the creative job is. If we don't have A.I. severely regulated in the media industry, then producers/executives will OK its use left and right.
And frankly, I'd rather take a mediocre score from a human composer than an A.I.-generated score that puts up the illusion of being fresh and inspired. Quality is a high cause. Human artists looking out for one another is the higher cause.
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This score was such a nice surprise! Other folks on here would be better equipped to describe its influences beyond the broad adjective of "medieval". I saw this film last night, and not only is it stop-motion, but it's rare to see any new feature aimed at children that is both wholesome and gentle. It's all about Leonardo Da Vinci's spirit of innovation, directed by one of the initial writers on Ratatouille. The score lets strings and winds stand out like nobody's business, my kind of score
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On 19/09/2023 at 4:20 PM, Edmilson said:
If a composer has an identifiable style, it's probably not that hard for an AI to imitate their sound. In a matter of a few years, a well trained AI could approximate, for example, an Alan Silvestri action score or a "spooky" Danny Elfman score or maybe even Williams' Star Wars stylistics.
Of course, it wouldn't be as good as the real thing written by the actual composers. But since when Hollywood producers are looking for quality? If they can pay an AI company less than half of what they'd pay for recording an actual Silvestri, Elfman or Williams score, then why not?
The future of art as a sustainable way of earning a living is bleak.
^^^I second all of this^^^. I'm happy that a lot of people on here are speaking out against the use of A.I.
In many artistic circles (composing, writing, illustration, etc.) the prevailing argument I see is "It's not as good." By and large this is true. In fact, it will always be true. But we have every reason to believe that the tech will improve to the point where the facsimile of a Williams/Zimmer/Elfman score will fool even trained ears.
The argument should be on moral grounds. Even if a human and A.I. were capable of producing identical music, it's just...plain wrong. We're all we've got to fight for. The motive for A.I. producing art/music/etc. is half-"we can so we should" and half-monetary (well, probably mostly monetary). One would think that the human rights violation here would get through to even the coldest studio executive, but evidently not.
The other thing is, A.I. is trained on existing data. Which means that anything it produces will, in some way, sound like what's come before. But the spirit of human art is that artists' creativity and sense of craft morphs and grows. Zimmer's work nowadays has changed so much from what it was in the '90s. If people aren't allowed to produce art full-time, the message being communicated is not only "We just want to go cheap," but also, "You don't deserve to grow as an artist. You don't deserve to use your own mind." That is the cruelest thing of all.
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***Copied from the "First 2023 Score Impressions" thread***
Given that this album's release date was purportedly August 9th - which it is in Japan - I thought the entire album would be available to preview on Japanese sites by now. Aw well, this little snippet will have to suffice
My first impression will be even more out of context than usual given that no one knows what this movie is except A) people who have read the book, and B) Japanese audiences (btw, Japanese audiences must regulate in-cinema pirating like crazy, one thinks there would've been a footage leak by now!).
I wonder if I'll feel about this score the way I feel about John Williams' score for The Fabelmans: both feature stripped down melodies with simple harmonies that are hella bittersweet, as if a farewell to a life-long creative partnership between director-and-composer has imbued into the music. I like it so far, look forward to samples with more symphonic ingredients
(also, that poster is entrancing. Does the heron have two sets of eyes?!)
Max Richter Appreciation Thread
in General Discussion
Posted
Certainly not bereft of thought, but definitely rather muted in richness of feeling.