Marian Schedenig

The thread title is wrong.

But setting the atmosphere is 99% of Djawadi does successfully. The music itself (even for a show like this, where it's much better than e.g. GoT) doesn't amount to much aside from creating a fitting mood for what happens on screen.

It's the best Goldsmith score of its kind. And it has the best onomatopoeic train music ever written. The expanded releases at least, the original album dropped it - somewhat understandably, since that cue then goes into a big statement of the main theme and then simply fizzles out, but it's nonetheless one of the highlights from the score.

So we're either getting a lot more Sony releases from LLL, or no LLL releases anymore ever at all? I vote for the first option.

Since when?

I wasn't fully convinced by the "plot", or rather, there was something about the narrative that bothered me at the time (I should revisit it at some point). But aside from that the direction, cinematography, Jacob's performance, and Preisner's score all come together to create a fascinating atmosphere. I remember finding the three parts were uneven compared to each other (they're obviously all meant to be distinctively different, but I also like some distinctively more than others), but I loved the third one.

You might even get away with only using a leitmotif once. As far as I remember, the "Erlösungsmotiv" from Der Ring des Nibelungen first appears in the last act of Die Walküre, where it's only used once. It does reappear prominently to conclude Götterdämmerung, which was written later, but even its single occurence in Die Walküre is such a key moment that it clearly stands out as a leitmotiv, even without what comes after.

The show has been a far cry from the surprisingly believable tech of the first season (quite possible the most authentic looking coding concepts I've seen in a film or series, especially scifi) already in season 2. Since they never explained who the host sphere thingies work, I guess we just have to accept that they seem to run on their own clock and just interface with the core system. Though that still leaves the question why the core system's load and that of the other hosts are connected. If, alternatively, she simply has control over the scheduler, she could just have slowed down (or paused) the other hosts without that overload trick.

I saw Schwabenkinder on TV at some point in the early 2000s. I liked the score then and put it on my Amazon wish list - it's been one of my earliest items on the list since then. I didn't remember much except that it featured a choir, but it had a series of price drops recently, so I picked it up. It's got some lovely melodies, rather Morricone style (think Legend of 1900), but it's all rather simple. Mostly melodies and string chords, with some sound effects in some tracks. For something that takes its choir hints and lyrics from liturgy (it has Benedictus, Agnus Dei, Sanctus, and Kyrie - in that order, curiously), the vocal writing is surprisingly homophonic (again, melodies with chords), and the notable vibrato of the choir and soloists is somewhat at odds with the etheral atmosphere the score generally goes for. And as a choir singer, I'm seriously annoyed by how Schneider changes the rhythm of the Latin word "pecata" to make it fit his melody. In his liner notes Schneider mentions that the film was temp tracked with Angela's Ashes plus Albinoni and Gounoud, and that they made a conscious decision to go for a distinct Morricone sound. He mentions being influenced by Bach, which seems at odds with the homophonic character, but he then adds that they subsequently reduced and simplified the music, and that the simple themes were deliberate. Still, while I suppose the whole things sounds nice enough, it doesn't really seem to hold much interested when divorced from the film.

At least the snippet above might just refer to why he didn't want to write film music himself, not necessarily to a negative view on the "genre" as such. Perhaps he just felt that writing film music would be too much of a change to his M.O. (modus operandi), hence him calling it "the other side". It doesn't sound like he's critical of Williams and Morricone in that comment, rather that he thought because they were so invested in film music, they were perhaps restricted by it when writing "freely". Previn certainly didn't seem to have a low opinion of good film music (after all, he still conducted some of it long after he'd turned his own back on Hollywood), but rather urged Williams to stop doing it because he thought he could do other great stuff that scoring films kept him from. I'm afraid I still only know Penderecki's music from various film that used it. I don't have anything him in my collection. I should change that.

Apparently, Ischgl in Tyol and the Jaws style (initial non-)handling of the crisis there might be a factor as well: A significant number of cases in Germany and Scandinavia can be traced back to Austrian skiing resorts, which have a comparatively younger demographic, meaning that at least the initial spread in Austria and these other countries was among younger people, who additionally were on holiday and thus not in direct contact with their older relatives.

I finally caught up with this after starting a full series rewatch only two days before the first new episode came out. Binged the first season in just three days, but it took a week or more to get through the second one. And I have to say that while S1's storylines are much easier to follow when you've seen it once and know the clue (though there were a couple of scenes that I still couldn't place, time-wise), I'm still very confused about S2's chronology That seems to be an obvious question with all the Inception style layering of different realities. Might just be a red herring though. You mean like Deckard...?

I always found it interesting that for concerts, Goldsmith chose to use the Suite from Mulan, where his orchestral versions of the songs take centre stage.

These films would be REALLY short if they took place during the Corona crisis.