Under-Terrestrial

Jon Brion’s Synecdoche score is great. Crushing.

Shout-out to Where The Wild Things Are by Carter Burwell

Dawn Of/War For The Planet Of The Apes by Giacchino

https://music.apple.com/nz/album/zola-original-motion-picture-soundtrack/1574245072

https://music.apple.com/nz/album/luca-original-motion-picture-soundtrack/1571407418 1. Meet Luca (4:08)2. Did You Hide? (1:04)3. The Curious Fish (1:39)4. You Forgot Your Harpoon (0:39)5. Phantom Tail (2:09)6. Walking Is Just Like Swimming (2:02)7. Vespa è Libertà (1:42)8. You Hold the Ramp (0:59)9. Silenzio Bruno (0:41)10. That’s the Dream (2:05)11. The Bottom of the Ocean (1:52)12. Take Me, Gravity (1:44)13. Portorosso (1:36)14. Signor Vespa (1:17)15. This Isn’t Any Old Race (2:55)16. Buonanotte, Boys (1:27)17. Land Monsters Everywhere (0:55)18. Buongiorno Massimo (3:03)19. The Out of Town Weirdo Tax (1:48)20. Rules Are for Rule People (1:08)21. How Humans Swim (1:03)22. Not Our Kid (0:49)23. Telescope (2:46)24. Beyond the Solar System (1:02)25. We Don’t Need Anybody (1:54)26. The Sea Monster (3:33)27. I Wish I Could Take It Back (4:01)28. The Portorosso Cup (7:34)29. How to Find the Good Ones (5:14)30. Go Find Out for Me (1:39)

I love that Powell’s 3 HTTYD scores came out at the very beginning, very middle, and [nearly] very end of the decade. Nice consistent presence

I love thinking about this For me a composer dominates if they produce a maximum intersection of quality and quantity. Only have thought about the past 3.1 decades: 1990s: James Horner (Alan Menken and Thomas Newman are runners up) 2000s: James Newton Howard 2010s: Michael Giacchino & Alexandre Desplat 2020s: Trent Reznor And Atticus Ross (obvs this is subject to change XD)

Love the Angela Morley Watership shoutout

The movie and score have masterful qualities for sure, but the whole package doesn’t totally cohere. The movie cares so much about giving the monsters presence, grandeur, and room to inspire awe, which is still gratifying. The anticipation to the final payoff, and the payoff itself, are A+ great. I don’t think it’s problem was ever a lack of monster action, but of shortage of engaging (and enduring 🤣) characters to fill the gaps (although at least they aren’t ‘98 Godzilla cheeseball).

I think that is absolutely the reason Batiste was hired, but isn’t that appropriate for the film [regardless of quality]? It makes sense that they’d want the music of a fictional black pianist to be written and performed by a real one (The audition scene at the start of the film was apparently directly inspired by Batiste’s own experience). Also, I saw a featurette that shows Batiste performing ‘Epiphany’ by Reznor/Ross, since Joe Gardner plays it in the film. The three composers are seen working together on-site. I think that was the only cue all three worked on together. I think only two pieces performed at the Half Note club in the film are preexisting and that’s it.

Love this ballet dearly. The movie was both supremely emotional and frustrating in equal measure for me (that's Kaufman for you) but this ballet and its place in the story is yearn-central, and it made me melt. I kind of wish they'd do a soundtrack release. There's the Tulsey Town jingle, a main title that's a separate recording of the ballet's first half, and while the rest of the cues are pretty subdued/ambient, they all seem to draw from the ballet.

A bit late to the party, but my favorite original scores from the 2020-2021 awards season: TOP EIGHT: 1. I'm Thinking Of Ending Things - Jay Wadley 2. Mank - Trent Reznor And Atticus Ross 3. Wolfwalkers - Bruno Coulais 4. Wendy - Benh Zeitlin And Dan Romer 5. Soul - Trent Reznor And Atticus Ross, Jon Batiste 6. The Call Of The Wild - John Powell 7. Shirley - Tamar-kali 8. The Witches - Alan Silvestri HONORABLE MENTIONS: - Bad Hair - Kris Bowers - The Assistant - Tamar-kali - Tenet - Ludwig Goransson - Da 5 Bloods - Terence Blanchard MOST ANTICIPATED LISTENS/WATCHES - Minari - Emile Mosseri - Freaky - Bear McCreary - News Of The World - James Newton Howard

Manna from heaven!!!

Woot! This score is awesome. We need more women of color allowed to make awesome film music anywhere close to mainstream like this By way of non-sequiter, I’m Thinking Of Ending Things FYC or bust. I’m pining for a clean version of that ballet.

This is gross. Probably especially so for POC. I’ve always stuck my nose up at Remote Control re: quality of music, but these work conditions (wherever they happen) make that problem look like pretty small potatoes. This job needs higher pay with paid (and ideally less) overtime, no question.

AH, nice! I was vaguely aware they wrote jazzy pieces for Watchmen.

We'll have to see! Saw a video interview where Pete Docter (director) said they were consciously trying to get away from the symphonic Pixar score sound. That of course doesn't mean that we can't get an overtly emotional score, but Reznor/Ross may also be more interested in teasing out more elusive, plaintive feelings than people are used to with Pixar music. Regardless, if Soul's story and characters are up to snuff (which seems to be the case), I have faith that however Reznor/Ross have chosen to support that story will make sense in context.

Judging from this clip, it might very well be! My understanding is that Jon Batiste is covering the source jazz music (diagetic and non-) for the real-world sequences, and Reznor/Ross are addressing the ethereal nature of the soul worlds. The Reznor/Ross input definitely sounds in-line with their electronic/minimalist work on prior films. What's funny is that according to an interview they did recently, they scored Soul prior to Mank, where they then flexed their symphonic/jazz muscles. I wonder if Pixar would've asked Reznor/Ross to score the entirety of Soul (jazz music included) if they heard their work on Mank ahead of time.

https://music.apple.com/nz/album/soul-original-motion-picture-soundtrack/1543828609

Hell yeah! Lots of guilt with what I left out (I've also seen a lot more movies from the second half of the decade than the first).

COMPOSERS WITH ONE PICK EACH: '127 Hours' - A.R. Rahman 'The Artist' - Ludovic Bource 'Brooklyn' - Michael Brook 'Cloud Atlas' - Tom Tykwer, Johnny Klimek, Reinhold Heil 'Escape From Tomorrow' - Abel Korzeniowski 'A Fantastic Woman' - Matthew Herbert 'Frankenweenie' - Danny Elfman 'The Hateful Eight' - Ennio Morricone 'Her' - Will Butler And Owen Pallett 'Hotel Transylvania' - Mark Mothersbaugh 'How To Train Your Dragon' - John Powell 'Hugo' - Howard Shore 'The Illusionist' - Sylvain Chomet 'Insidious' - Joseph Bishara 'Jack Reacher' - Joe Kraemer 'Joker' - Hildur Guonadottir 'Knives Out' - Nathan Johnson 'The Last Black Man In San Francisco' - Emile Mosseri 'The Little Prince' - Hans Zimmer And Richard Harvey 'Loving Vincent' - Clint Mansell 'Marriage Story' - Randy Newman 'Mudbound' - Tamar-kali 'The Red Turtle' - Laurent Perez Del Mar 'Song Of The Sea' - Bruno Coulais 'Suspiria' - Thom Yorke 'Wolf Totem' - James Horner COMPOSERS WITH TWO PICKS EACH: 'Lady Bird' - Jon Brion 'ParaNorman' - Jon Brion 'The Tale Of Princess Kaguya' - Joe Hisaishi 'The Wind Rises' - Joe Hisaishi '12 Years A Slave' - Hans Zimmer 'Interstellar' - Hans Zimmer 'The Childhood Of A Leader' - Scott Walker 'Vox Lux' - Scott Walker 'The Croods' - Alan Silvestri 'Welcome To Marwen' - Alan Silvestri 'Fast Color' - Rob Simonsen 'The Spectacular Now' - Rob Simonsen 'Get Out' - Michael Abels 'Us' - Michael Abels 'Vice' - Nicholas Britell 'If Beale Street Could Talk' - Nicholas Britell 'The Boxtrolls' - Dario Marianelli 'Kubo And The Two Strings' - Dario Marianelli 'Bridge Of Spies' - Thomas Newman 'Saving Mr. Banks' - Thomas Newman 'Arrival' - Johann Johannsson 'The Theory Of Everything' - Johann Johannsson 'A Hidden Life' - James Newton Howard 'The Last Airbender' - James Newton Howard 'Gone Girl' - Trent Reznor And Atticus Ross 'The Social Network' - Trent Reznor And Atticus Ross COMPOSERS WITH THREE PICKS EACH: 'Jackie' - Mica Levi 'Monos' - Mica Levi 'Under The Skin' - Mica Levi 'Ain't Them Bodies Saints' - Daniel Hart 'A Ghost Story' - Daniel Hart 'The Old Man And The Gun' - Daniel Hart 'First Man' - Justin Hurwitz 'Guy And Madeline On A Park Bench' - Justin Hurwitz 'La La Land' - Justin Hurwitz 'Anomalisa' - Carter Burwell 'Carol' - Carter Burwell 'Wonderstruck' - Carter Burwell 'Inherent Vice' - Jonny Greenwood 'The Master' - Jonny Greenwood 'Phantom Thread' - Jonny Greenwood COMPOSERS WITH FOUR-OR-MORE PICKS EACH: '10 Cloverfield Lane' - Bear McCreary 'The Cloverfield Paradox' - Bear McCreary 'Colossal' - Bear McCreary 'Happy Death Day' - Bear McCreary 'The Adventures Of Tintin' - John Williams 'The BFG' - John Williams 'The Book Thief' - John Williams 'Lincoln' - John Williams 'The Post' - John Williams 'War Horse' - John Williams 'The Danish Girl' - Alexandre Desplat 'Extremely Loud And Incredibly Close' - Alexandre Desplat 'Godzilla' - Alexandre Desplat 'The Grand Budapest Hotel' - Alexandre Desplat 'Isle Of Dogs' - Alexandre Desplat 'The King's Speech' - Alexandre Desplat 'Little Women' - Alexandre Desplat 'Moonrise Kingdom' - Alexandre Desplat 'Rise Of The Guardians' - Alexandre Desplat 'The Shape Of Water' - Alexandre Desplat 'The Tree Of Life' - Alexandre Desplat 'Bad Times At The El Royale' - Michael Giacchino 'Coco' - Michael Giacchino 'Dawn Of The Planet Of The Apes' - Michael Giacchino 'Doctor Strange' - Michael Giacchino 'Inside Out' - Michael Giacchino 'John Carter' - Michael Giacchino 'Jojo Rabbit' - Michael Giacchino 'Jupiter Ascending' - Michael Giacchino 'Let Me In' - Michael Giacchino 'Super 8' - Michael Giacchino 'Tomorrowland' - Michael Giacchino 'Zootopia' - Michael Giacchino Discuss and/or cast your picks!!!

As promised, here is the 2010 episode, being delivered in reverse order (we plan to progress in sequence from here on in)! https://audiomack.com/song/the-tens/2010-session-one 'The Tens' is a limited podcast retrospective on music composed for the movies of the 2010s! I'm James, and I co-host with my pal Kyle. We're musicians with moderate music theory knowledge, we're professional film score fans like everyone here, and we definitely do not have any strong opinions whatsoever, period, end-of-story. Come join us as we barrel through the decade year-by-year, discuss our favorites, scoff at one another for not having seen X Y or Z movie, and determine the best original and not-quite-so-original scores. Roughly one episode will be released every two weeks, and we will conclude with a 'Best-Of' episode, wherein we'll narrow down the single best score of the decade!

Hello, JWFAN! I'm sure another film music podcast is redundant on this platform, but if you're looking for more listening options, here it is!: https://audiomack.com/song/the-tens/2011-session-two 'The Tens' is a limited podcast retrospective on music composed for the movies of the 2010s! I'm James, and I co-host with my pal Kyle. We're musicians with moderate music theory knowledge, we're professional film score fans like everyone here, and we definitely do not have any strong opinions whatsoever, period, end-of-story. Come join us as we barrel through the decade year-by-year, discuss our favorites, scoff at one another for not having seen X Y or Z movie, and determine the best original and not-quite-so-original scores. Roughly one episode will be released every two weeks, and we will conclude with a 'Best-Of' episode, wherein we'll narrow down the single best score of the decade! (NOTE ON THIS EPISODE: While we plan to release episodes sequentially, the 2011 episode is being launched prior to our 2010 episode due to poor timing on our editor's part (the editor being me...I am ashamed...)

To whom it may interest :) https://music.apple.com/nz/album/jojo-rabbit-original-score/1482698267

Fear not!! Also, I have to wonder about Balfe's involvement: he posted photos from his recording sessions on Instagram close to the Venice festival premiere: perhaps Balfe was brought on by studio request in response to the Venice screening? Maybe he was on board beforehand, I don't know...