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Showing results for tags 'Score Talk'.
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I would like to let everyone know that I have begun a series of blog posts on all the 2013 Oscar nominees for Best Original Score. I've started with Alexandre Desplat for Argo. John Williams's score for Lincoln will of course be featured in one of these posts as well. Here's the first post: http://www.filmmusicnotes.com/oscar-nominees-2013-alexandre-desplats-score-for-argo/ Hope you enjoy it!
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http://www.lalalandrecords.com/FirstLove.html'>http://www.lalalandr.../FirstLove.html At only 2,000 copies available, I suspect this will sell out fast!
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Other than film music (and a whole lot of game music too) posted around in this forum, what do you guys think of the music from the MMO's from Blizzard out there? I'm in love with the work of Jason Hayes, Neal Acree, Derek Duke, Russell Brower, and all those who work on the music on the video games World of Warcraft, Starcraft, and Diablo. I'll start posting some real sweet tunes from these guys. Gold stuff here. Both in the games, and in the commercials for their games. Derek Duke, Gnomeregan: (kazoos are f*cking awesome.) Neal Acree, Xaxas (trailer score for Cataclysm): (loving the low C choral lines at 16 sec) Neal Acree, Nightsong (the female voices that come in 1:40... oh man... ) Got any favorites of your own?
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Ok, this is a thread, so that everyone can post the film music theme that he/she considers his favourite of all film music from 2000-today. It would be best, if everyone posts only ONE theme. I know it's hard, but really in that way, you will trully find your favourite theme and not just a favourite. i start with mine.. The main theme from "A Single Man"
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We are a third of the way into the decade. It's time to get a feel for what you love and don't love after three years of moping about in the 2010s. Re-releases ARE NOT ALLOWED. I'll go first, starting with most favorite. 1. Neighborhood Watch Fail (Super 8) - Michael Giacchino 2. Plowing (War Horse) - John Williams 3. A Thern for the Worse (John Carter) - Michael Giacchino 4. Letting Go (Super 8) - Michael Giacchino 5. Lovegood (HP7) - Alexandre Desplat 6. No Man's Land (War Horse) - John Williams 7. Dreaming of Bag End (The Hobbit) - Howard Shore 8. Appomattox, April 9, 1865 (Lincoln) - John Williams 9. A Man Who Can (Sherlock) - David Arnold 10. The Very Best Plan (Extremely Loud & Incredibly Close) - Alexandre Desplat
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http://filmmusicreporter.com/2013/01/12/chris-bacon-to-score-bates-motel/
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I really liked his score to Coraline, and this one seems really interesting! http://www.varesesarabande.com/servlet/the-1083/Microcosmos/Detail'>http://www.varesesar...rocosmos/Detail Oh wow, I just discovered this is actually a 1996 movie that had a CD in France before, this is just the USA premiere http://www.soundtrackcollector.com/title/9081/Microcosmos%3A+Le+Peuple+De+L'Herbe
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http://www.varesesarabande.com/servlet/the-1089/Side-Effects/Detail
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http://manoshandsoffate.bandcamp.com/ Behold... the soundtrack to one of the worst movies of all time. In all of it's wonderfully bad jazzy goodness! This comes straight from the new DVD/Blu Ray restoration of the film from perhaps it's only remaining original elements. Sadly, it's just as it is heard in the film, complete with dialogue and SFX. But still, it's pretty clear given the source and much clearer than any of it has ever been heard before. Besides, any fan of the film will laugh out loud every time you hear one of the infamous lines of super-dubbed dialogue belting over the jazzy tunes. Think of it almost as an audiobook version! Definitely one of those "wow, this is so bad, weird, yet enjoyable all at once" kind of things, especially those with a fondness for bad cinema scores or just want a keepsake from the famous Mystery Science Theater 3000 classic episode. LOL.
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https://soundcloud.com/sony-soundtracks/sets/die-hard-5 Here it is. What do you think?
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I was hesitant to bump this one back to the top, but it seemed the best place for this question, and the last thing I wanna do is start another Zimmer thread, so. . . . I had a chance to pick up Zimmer's A Thin Red Line a couple of days ago. I've kinda soured on him recently—this thread miiiiiiight have had something to do with that—so I let it go. It's been quietly nagging at me since. I've heard some say it's one of his finest scores. I'm wondering if I shouldn't take a chance. So you Zimmies out there, do your best to give me an honest assessment: where does this one stand amongst his repertoire? Is it worth the buy? (Actually, I might get a better read from the borderline Zimmer fans, or even some of his detractors. If a Hans-hatin' spouter tells me this one's actually pretty good, that would serve as quite an endorsement, yes?) - Uni
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I figured this poll thread would stop the endless poll threads.
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Which do you prefer? The Choral powerhouse Sammath Naur? or the emotional replacement cues? choose wisely!
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It'd been so long by now, but I've just been listening to the complete Grey Havens track (as heard on the CR) and it felt so fresh and moving to me; I was actually compelled to compare it with E.T.'s legendary farewell cue which too deals with exactly same themes as the LotR piece. Both have moved me to tears within their respective films and indeed outside of them as music in their own right. What's interesting though is there's a massive dramatic and stylistic gulf between the pieces - with E.T.'s cue being very much the full-on romanticised hit of sheer unabashed sentimentalism and RotK instead taking a far more tactile and reflective approach whose own melancholic flavour seems to work on more of a reflective, yearning level. It's a very gentle piece. The two cues are desperately bitter-sweet, but very different in terms of how they ultimately accomplish the same thing. Which do you prefer? -
http://www.lalalandrecords.com/Relic.html
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Some of you are familiar with Christian Henson's wonderful score to Grabbers, a fantastic Goldsmith-inspired score to a 2012 independent Irish film that is one of my favorite scores of the year. I just came across this press release today for his next score: -
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Here we go!
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I'm sure many have noticed the structural similarity between the first part of Bilbo's adventure and the first part of Frodo's. But what about the music? For each of the 15 choices, vote for your favorite piece of music from the Peter Jackson movies. Ignore OST vs SE differences for AUJ pieces and OST vs CR vs Rarities differences for LOTR stuff, just vote by whatever your favorite version of each piece of music is. Have fun!
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Admin note: Original thread title was Giacchino's Star Trek - Live to Projection (April 12, 13 and 14, 2013, Lucerne, Switzerland) Michael Giacchino's full score to J.J. Abrams' Star Trek (2009) will be performed live to projection next April in Lucerne (Switzerland). The performance will take place in Lucerne's KKL Concert Hall, with Ludwig Wicki conducting the 21st Century Orchestra & Chorus. More info: http://filmmusicreporter.com/2012/12/28/live-to-projection-concerts-of-michael-giacchinos-star-trek-score-announced/ Tickets: http://www.kkl-luzern.ch/navigation/top_nav_items/culture/Programmuebersicht/detail.htm?client_request_contentOID=3813&client_request_dateOID=20102&client_locale=en_GB -
Now that I finally got to hear the OST - the score Shore intended for The Hobbit - I feel it was fairly disrespectful to replace much of this masterful and profound production with music pretty much copy and posted from the original LOTR soundtracks. The soundtrack is simply great and I wish it would have been preserved in the film. Then I wonder about The Phantom Menace. We all know how Williams' score was chopped up and butchered for the final act. But what if Lucas had taken a similar route Jackson took and had actually placed familiair music from ESB or ROTJ in TPM instead of Williams' newly written score...? What if Darth Maul's appearance would suddenly be put to The Imperial March, completely ignoring Williams' new material for the scene...? Would that be something like the Nazgul music supporting an important scene involving Thorin in The Hobbit? Well, at least The Hobbit got a proper official release. So which score do you feel got the most disrespect in the editing room...?
