Jump to content

The Bear McCreary Thread


Taikomochi

Recommended Posts

  • 1 month later...

A great excuse as any other to revisit both scores, which are absolutely fantastic from start to finish. And it's so great that they have released all the lyrics, because it always shows the detailed thought behind these scores. Great stuff!

Link to comment
Share on other sites

  • 3 weeks later...

Just saw this on Twitter. It's not confirmed yet, but I think there's a chance he might score it. If so, then it's another great possibilty for Bear to create a great and complex score in the realm of fantasy and action adventures. I'm quite excited for the show, as I was a huge fan of the books when I was younger, and I think they are going to do it right this time, since the movies were quite disappointing.

 

And having Bear on their team would be another reason to watch it!

Link to comment
Share on other sites

1 hour ago, DangerMotif said:

It’s getting to a point where it isn’t humanly possible to be composing all of this

I do kinda wish he’d be a bit more selective at this stage. He can’t lack for decent movie assignments, indeed I wonder how many he’s turned down due to tv commitments. On the other hand I don’t want him to ditch Rings of Power!

Link to comment
Share on other sites

2 hours ago, DangerMotif said:

It’s getting to a point where it isn’t humanly possible to be composing all of this

 

Dude, he has a team and ghost writers like any other A list composer.

Don't be so naive.

Link to comment
Share on other sites

Considering he spent most of the last few years writing GOW Ragnarok and TROP, I wouldn't be surprised if his other scores that also came up recently, like that crappy Netflix ghost movie or that animated comedy about samurai cats or something, having been mostly written by his team while he provided a few themes and the overall direction. 

Link to comment
Share on other sites

10 hours ago, Edmilson said:

Considering he spent most of the last few years writing GOW Ragnarok and TROP, I wouldn't be surprised if his other scores that also came up recently, like that crappy Netflix ghost movie or that animated comedy about samurai cats or something, having been mostly written by his team while he provided a few themes and the overall direction. 

Doesn't seem unlikely at all. Although I'm sure both GOW: Ragnorak and TROP were done with some help here and there given the sheer volume of music required for both, especially TROP. I have to say that I thoroughly enjoyed Paws of Fury (the samurai cat movie) quite a lot in a "not quite as good as John Powell" kind of way. I enjoyed it more than Animal Crackers which was just a bit exhausting by the end, fun though it was.

 

I was a bit underwhelmed by We Have a Ghost which didn't do much for me on its own terms and suffered from "we wanted to make you think of all those great 80s movie scores" and then singularly failed to really remind me of any, let alone get remotely close to being as good as Poltergeist or Gremlins or Twilight Zone: The Movie. Ever since Super-8 and films/scores meant to be evoking 80s nostalgia and peak Spielberg/Zemeckis/Dante - JW/Alan Silvestri/Jerry, I've had to check my expectations a bit as they rarely live up to them.

Link to comment
Share on other sites

He's been very clear about The Rings Of Power being all him in his blogs. I'll take his word for that.

 

But I do think he got some help on other projects over the last 2 years. For me the difference between McCreary and help (ghostwriters) and say Lorne Balfe and help is that McCreary's output is pretty much always good. So I don't mind if his name is on more projects

Link to comment
Share on other sites

5 hours ago, Tom Guernsey said:

Doesn't seem unlikely at all. Although I'm sure both GOW: Ragnorak and TROP were done with some help here and there given the sheer volume of music required for both, especially TROP.

 

He explicitly states several times in his blog posts that he wrote every note of TROP himself.

 

https://bearmccreary.com/the-lord-of-the-rings-appendices-part-1/

https://bearmccreary.com/the-lord-of-the-rings-appendices-part-2/

https://bearmccreary.com/the-lord-of-the-rings-appendices-part-3/

https://bearmccreary.com/the-lord-of-the-rings-appendices-part-4/

Link to comment
Share on other sites

2 minutes ago, Jay said:

Guess he had long enough to do so which must be quite the rarity.

Link to comment
Share on other sites

  • 2 months later...

Well, this seems much more like a McCreary kind of movie than Newman. I always thought the idea of Newman doing a straight-up horror movie was a strange one.

 

I guess the filmmakers replaced him once he couldn't deliver the kind of horrific music they wanted.

Link to comment
Share on other sites

I don't know, Newman's always been strong on atmospheric scores so horror doesn't sound that far away from what he usually does.

 

However, McCreary 'scoring' this will mean him overseeing it, but his team doing a lot of the composing, especially given they have less than two months until release.

 

Plus, given that he took 9 months to write RoP season 1, at some point he starts all over again especially if he's committing to doing it all himself again.

Link to comment
Share on other sites

10 hours ago, Edmilson said:

I always thought the idea of Newman doing a straight-up horror movie was a strange one.

 

I guess the filmmakers replaced him once he couldn't deliver the kind of horrific music they wanted.

He did score some portions of the Castle Rock TV show (2018-2019), which is categorised as "psychological horror" in genre. I've never seen it, but the few tracks that were released demonstrate Newman's approach to the genre was adding more dissonant, creepy and atmospheric textures to his usual techniques.

 

There are some dark/horror-based elements in some recent films he has scored. Off the top of my head bits of Tolkien, 1917 and The Little Things come to mind as being more in line with the conventional horror music sound.

 

It seems logical that he was replaced after not providing the kind of horror music the director or producers wanted (probably something much more generic and bland than Newman could ever come up with), but according to the current Wikipedia entry, it says he was replaced due to "scheduling conflicts".

Link to comment
Share on other sites

Unless someone higher up the food chain wants a name attached to the film, fresh off RoP success.

 

But yes, if they just want a standard bang/crash/drone horror score, there must be far cheaper ways. It's either going to be genuine scheduling (which for Wikipedia smells a little bit of Newman apologism) or just Newman having a creative difference.

Link to comment
Share on other sites

Always a bit more surprising when someone with a strong reputation and a very distinctive style gets replaced, but a solid alternative - according to his Facebook, BM has already written the score. Just hope it's more JW/Kilar grand romantic Dracula than... well, most modern horror scoring.

Link to comment
Share on other sites

17 hours ago, Richard Penna said:

Plus, given that he took 9 months to write RoP season 1, at some point he starts all over again especially if he's committing to doing it all himself again.

 

Future seasons will probably be a lesser workload: he wrote most of the themes he needs back for Season One.

Link to comment
Share on other sites

Not necessarily - he will have new ones to come up with, plus it read to me that the bulk of the mentally exhausting period was writing the score itself after he'd written the themes.

 

But they know the routine now and won't be doing the spotting sessions they did early on (which they stopped a few episodes in) so perhaps it will be easier.

Link to comment
Share on other sites

  • 3 weeks later...

Took me a while, but I finally set aside some time to whittle down the insanely long DA VINCI'S DEMONS discs to one proper soundtrack playlist at about an hour. Phew! Now I can finally start enjoying this music as a standalone listening experience.

 

da vinci.jpg

Link to comment
Share on other sites

Means "Disc". Didn't bother to merge the tracks from Vol. 2 and 3 into the existing Vol. 1. It all plays continously anyway.

Link to comment
Share on other sites

Hah, so only 11 minutes of music from season 2 was interesting to you?

 

Fair enough - I have some TV scores which feel like they go on and on. Thing is, you had the opportunity to select which 11 minutes you liked best. I thought his selections for later Outlander releases and particulary TWD were unbelievably unrepresentative.

Link to comment
Share on other sites

6 minutes ago, Richard Penna said:

Hah, so only 11 minutes of music from season 2 was interesting to you?

 

No, there were a couple of cues more. Tracks 6 and 10, for example. But I was determined to keep the whole thing to under an hour. So I had to kill some darlings for maximum flow.

 

6 minutes ago, Richard Penna said:

Fair enough - I have some TV scores which feel like they go on and on. Thing is, you had the opportunity to select which 11 minutes you liked best. I thought his selections for later Outlander releases and particulary TWD were unbelievably unrepresentative.

 

The first volume of OUTLANDER is an excellent album; a rare case where he actually made the effort to curate his material properly. I sampled the subsequent ones (and I think I still have them on my harddrive, even if I deleted them from my iTunes), but there wasn't really that much I wanted. I could possibly have made a 30-40 minute album out of the rest, but if I want the "Outlander experience", I'll just put on the first volume and let that be it.

Link to comment
Share on other sites

DaVinci's Demons is such a great score, but I agree that the Collector's Edition of the first two seasons are a bit too long to be listened more regularly.

 

As for Outlander, I absolutely love the music for the show, and I really like all the different musical styles he has explored in each season, with some great variations on all his themes (even if later albums tend to be a bit shorter than I would like). But for me the first season still remains the best in terms of pure enjoyment. It was my introduction to his music and I absolutely love the mix of scottish folk songs with his lyrical melodies, which make for a really pleasant and beautiful listening experience in both volumes. Cannot wait to properly hear what he has done for Season 7 of the show!

Link to comment
Share on other sites

18 hours ago, Thor said:

No, there were a couple of cues more. Tracks 6 and 10, for example. But I was determined to keep the whole thing to under an hour. So I had to kill some darlings for maximum flow.

 

This is the only part of your argument where you lose me! I cannot understand a mentality where you've listened to and enjoyed a couple of tracks, but permanently decided never to hear them again because they take the overall length above an hour.

 

If I loved a piece of music but they didn't fit in a playlist I'd made, I just find another way to 'playlist' them like appending them to another shorter asembly. Or just chuck them in a folder I have for miscellaneous film tracks.

Link to comment
Share on other sites

I put overall album flow ahead of individual tracks. Always. Plus, I think I have plenty of highlight tracks in the program already to represent this music, I don't need all of them. Of course, should I get the stamina at a later date, I should also look into re-organizing them into something that might work reasonably well as a conceptual playlist, but that will be way down the line. For now, I'm just pleased with boiling down the ridiculous, what, 5 hours of music down to a manageable 1 hour.

 

One score down, about 100 more to go! :D

Link to comment
Share on other sites

Ah, there's the key difference. If you've already represented the ideas elsewhere I understand. It's only if they represent unique musical ideas and you still dropped them where I raise an eyebrow.

Link to comment
Share on other sites

I don't need every single unique idea represented either. In this case, it's more a matter of capturing and representing the overall musical ideas -- Da Vinci's inventions, the love aspects surrounding Lucrezia, some of the dramatic confrontations (most prominently in the epic "The Tank Yard" track from Vol. 3) or the more spiritual/religioso side that also captures the time period.

Link to comment
Share on other sites

I’m watching Foundation season 2 and noticed that there’s an additional composer in the credit. Guess he didn’t have time to compose the score for this season. 

Link to comment
Share on other sites

On 23/06/2023 at 3:46 AM, Tom Guernsey said:

Always a bit more surprising when someone with a strong reputation and a very distinctive style gets replaced, but a solid alternative - according to his Facebook, BM has already written the score. Just hope it's more JW/Kilar grand romantic Dracula than... well, most modern horror scoring.

 

I watched the trailer a while back and I don't know about you, but I don't see where grand romantic Dracula fits in.

Link to comment
Share on other sites

On 12/07/2023 at 12:02 PM, Thor said:

For now, I'm just pleased with boiling down the ridiculous, what, 5 hours of music down to a manageable 1 hour.

 

do you do this with other kinds of stage music too? to transform into like, rock concept albums or something.

Link to comment
Share on other sites

  • 2 weeks later...

The OST album for Season 2 of Foundation is credited to "Themes by Bear McCreary, Music by Sparks and Shadows"

 

https://is1-ssl.mzstatic.com/image/thumb/Music126/v4/13/33/09/1333095b-91b3-669d-b085-db42129fccd7/39.jpg/1600x1600bb.webp

 

https://music.apple.com/nz/album/foundation-season-2-apple-tv-original-series-soundtrack/1699304080

Link to comment
Share on other sites

If they release a physical CD edition, I'm sure the booklet will have specific credits.

 

Probably when the digital edition releases in the USA, he'll put up info on the S&S website that states this.

Link to comment
Share on other sites

Demeter album tracklist

 

1. The Last Voyage of the Demeter
2. The Demeter Embarks
3. Meet My Crew
4. The Captain’s Log – Bear McCreary, Raya Yarbrough
5. Where the Devil Sleeps
6. Delusional Grief
7. In the Lantern’s Light – Bear McCreary, Raya Yarbrough
8. Sacrifices– Bear McCreary, Raya Yarbrough
9. Wings in the Fog
10. Epilogue– Bear McCreary, Raya Yarbrough

Link to comment
Share on other sites

Isn't Raya his wife? And if she's credited on a few tracks, does that mean that she co-composed them? If that's so, then it's probably the first score written by an actual married couple, lol.

Link to comment
Share on other sites

23 minutes ago, Edmilson said:

Isn't Raya his wife?

 

Yeah

 

23 minutes ago, Edmilson said:

And if she's credited on a few tracks, does that mean that she co-composed them?

 

No, it means they feature her vocals

Link to comment
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now
×
×
  • Create New...

Important Information

By using this site, you agree to our Guidelines.