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Gustavo Santaolalla Appreciation Thread


Hlao-roo
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To kick off this thread, let's start off with an all-new interview with the soundtrack legend himself, courtesy of Echoes.

I really feel there's a before and after, you know. I mean, now, you can certainly make a symphonic score, but also now you make a score maybe just with a flute. And, still, you know, if it helps propulsing [sic] the story -- if it, really, you know, takes you where, where it should with the music, you know, um, it can be a candidate to win an Academy Award. And, that, that is different than it used to be.
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To kick off this thread, let's start off with an all-new interview with the soundtrack legend himself, courtesy of Echoes.
I really feel there's a before and after, you know. I mean, now, you can certainly make a symphonic score, but also now you make a score maybe just with a flute. And, still, you know, if it helps propulsing [sic] the story -- if it, really, you know, takes you where, where it should with the music, you know, um, it can be a candidate to win an Academy Award. And, that, that is different than it used to be.

You got to be kidding me!!!!

What an ignorant idiot!!!!

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You got to be kidding me!!!!

What an ignorant idiot!!!!

...

I love you.

Now now, although I 100% agree that Gustavo is a boob, this is not the Gustavo Santaollala Bashing Thread.

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To kick off this thread, let's start off with an all-new interview with the soundtrack legend himself, courtesy of Echoes.
I really feel there's a before and after, you know. I mean, now, you can certainly make a symphonic score, but also now you make a score maybe just with a flute. And, still, you know, if it helps propulsing [sic] the story -- if it, really, you know, takes you where, where it should with the music, you know, um, it can be a candidate to win an Academy Award. And, that, that is different than it used to be.

You got to be kidding me!!!!

What an ignorant idiot!!!!

That's exactly what my brother thinks when I whinge on to him about Santa's wins. In his opinion, if something works perfectly in the film, he doesn't give a rat's ass about whether it makes a good CD release.

It does ask an interesting question though - what makes something exceptional for awards status in the case of film? I mean you could have a scene with no hummable music, but the music makes the scene feel hyper realistic. It's therefore done its job but only fanboys would want the CD.

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Iguazu is the only great piece Gustavo's ever done. It's been rehashed into Amores Perros, 21 Grams, and Babel. The original song is great, but that's all it is, a song. It's from his album before he turned into a composer, and that's the way it should have remained.

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To kick off this thread, let's start off with an all-new interview with the soundtrack legend himself, courtesy of Echoes.
I really feel there's a before and after, you know. I mean, now, you can certainly make a symphonic score, but also now you make a score maybe just with a flute. And, still, you know, if it helps propulsing [sic] the story -- if it, really, you know, takes you where, where it should with the music, you know, um, it can be a candidate to win an Academy Award. And, that, that is different than it used to be.

You got to be kidding me!!!!

What an ignorant idiot!!!!

That's exactly what my brother thinks when I whinge on to him about Santa's wins. In his opinion, if something works perfectly in the film, he doesn't give a rat's ass about whether it makes a good CD release.

It does ask an interesting question though - what makes something exceptional for awards status in the case of film? I mean you could have a scene with no hummable music, but the music makes the scene feel hyper realistic. It's therefore done its job but only fanboys would want the CD.

I've said it elsewhere, and I'll say it here: The best scores will both do service to the film and make for excellent music on its own merits. That should be the most basic criteria for an award.

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I've said it elsewhere, and I'll say it here: The best scores will both do service to the film and make for excellent music on its own merits. That should be the most basic criteria for an award.

That's the criteria for every Hans score.

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Come now, Koray. Not every Zimmer score makes for excellent music in its own right. Even if you like every one, a lot of it is going to be more on the level of "good" or "decent" or even "really nice" music, but "excellent" is a much higher class.

EDIT: 1,000 posts! WOOT!!

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So what you're basically saying is John Williams has a pair of dead man's balls?? I'd go along with that analogy.

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I've said it elsewhere, and I'll say it here: The best scores will both do service to the film and make for excellent music on its own merits. That should be the most basic criteria for an award.

Which is exactly why I don't like Gustavo, and why he didn't deserve his Oscars.

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sorry but musically he sucks the sweat off a dead man's balls. Just like captain Hauk's attempt at comedy in Good Morning Viet Nam.

Wow. You'd have to suck pretty hard...

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I've said it elsewhere, and I'll say it here: The best scores will both do service to the film and make for excellent music on its own merits. That should be the most basic criteria for an award.

Which is exactly why I don't like Gustavo, and why he didn't deserve his Oscars.

Hey, don't blame Gustavo for the Academy's dim-witted choices.

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Hey, don't blame Gustavo for the Academy's dim-witted choices.

True it is the Academy's fault, but I still don't like Santa. as a composer.

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I hope every Academy member who voted for Gustavo Santoalalla during his two Oscar runs gets ass cancer and dies a slow, painful death. I bear the man himself no ill will, and wish him many good scores to come, but anyone who officially decided Brokeback Mountain and Babel were better scores than Memoirs of a Geisha and Pan's Labyrinth deserves bloody, agonizing stools.

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Hey, don't blame Gustavo for the Academy's dim-witted choices.

True it is the Academy's fault, but I still don't like Santa. as a composer.

As a composer I guess he's so-so. I haven't seen either Brokeback or Babel, but I'm sure the music worked well (hey, it wasn't rejected). Problem is, it did nothing more than that, so no, I don't think Santa should be blamed - whoever decided that Babel was the best achievement in the entire year is the person who should be shot at dawn for either their pure musical ignorance or political reasons.

Wait, this is the appreciation thread... dammit.

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Anyone who officially decided Brokeback Mountain and Babel were better scores than Memoirs of a Geisha and Pan's Labyrinth deserves bloody, agonizing stools.

Yes, those were far superior. Tis why I hold a personal grudge against the Oscars.

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I've said it elsewhere, and I'll say it here: The best scores will both do service to the film and make for excellent music on its own merits. That should be the most basic criteria for an award.

Which is exactly why I don't like Gustavo, and why he didn't deserve his Oscars.

Hey, don't blame Gustavo for the Academy's dim-witted choices.

Blame him for his 'I'm believing i'm the best' or 'Take that talented composers!' attitudes.

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Donkeys come from the Old World.

BTW if Spain had not colonized, he would be Gustav Saintolaya, Gustavé Saintéolayé, Gustav Stanolayen, Gustavini Santaolayini or whatever.

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Donkeys come from the Old World.

Isn't that true...

:mellow:

So how's it feel to be part of the country whose greatest contribution to the world was an Italian explorer and burros?

Oh and Gustavo.

;)

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  • 1 year later...

<!--quoteo(post=419046:date=Apr 3 2008, 10:11 PM:name=Hlao-roo)--><div class='quotetop'>QUOTE (Hlao-roo @ Apr 3 2008, 10:11 PM) <a href="index.php?act=findpost&pid=419046"><{POST_SNAPBACK}></a></div><div class='quotemain'><!--quotec-->To kick off this thread, let's start off with an <a href="http://www.echoes.org/podcasts/EchoesPodcast-EchoesPodcast-Santaolalla.mp3" target="_blank">all-new interview</a> with the soundtrack legend himself, courtesy of <a href="http://www.echoes.org" target="_blank">Echoes</a>.

<!--quoteo--><div class='quotetop'>QUOTE </div><div class='quotemain'><!--quotec-->I really feel there's a before and after, you know. I mean, now, you can certainly make a symphonic score, but also now you make a score maybe just with a flute. And, still, you know, if it helps propulsing [<i>sic</i>] the story -- if it, really, you know, takes you where, where it should with the music, you know, um, it can be a candidate to win an Academy Award. And, that, that is different than it used to be.<!--QuoteEnd--></div><!--QuoteEEnd-->

<!--QuoteEnd--></div><!--QuoteEEnd-->

You got to be kidding me!!!!

What an ignorant idiot!!!!

Yes, he is ignorant. Toru Takemitsu was applying this type of scoring ideolody long before this twit ever twanged a single guitar note. The difference is that Takemitsu was also capable of fantastic full orchestral scoring. And this is the point: the fact that Santaolalla is not making a decision to score a scene or film with a modest amount of instruments. It's the plain fact that it's ALL he can bring to the table, and yet people laud him for it. The craze around Santaolalla's "genius" is on par with Peter Sellers' Chauncy the gardener from "Being There".

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He won't fade from mine anytime soon.

The themes from Brokeback are catchy, gotta give him that. I sometimes get the main theme going through my head.

My beef is with Babel. I've listened to a few tracks and vowed never again. The fact that they played Iguazu at the oscars... I wonder whether the producers realised they'd allowed a nomination of a piece of shit and decided they'd better use that cue instead for health & safety reasons :lol:

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