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Michael Giacchino's Dawn of The Planet Of The Apes (2014)


Matt C

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I'm not sure whether this is better (or worse, for that matter) than Godzilla or How To Train Your Dragon. Or other good stuff this year. I enjoy each one of those in different ways - hard to compare, really.

Karol

I find it very comparable to GODZILLA: a blockbuster score that is well written and that does not suck but still leaves some room for improvement. Both suffer a rather mediocre thematic base and are in their current from far too long. I long for the days when an album producer actually had to assemble the best cues and not slap 40 minutes of movie-dependent filler in between.

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You know what? The album is indeed gargantuan in terms of length, but I reckon it flows very well. I don't really care whether they last 40 or 80 minutes, as long as they take me "on a journey".

Karol

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I'm not sure whether this is better (or worse, for that matter) than Godzilla or How To Train Your Dragon. Or other good stuff this year. I enjoy each one of those in different ways - hard to compare, really.

Karol

I find it very comparable to GODZILLA: a blockbuster score that is well written and that does not suck but still leaves some room for improvement. Both suffer a rather mediocre thematic base and are in their current from far too long. I long for the days when an album producer actually had to assemble the best cues and not slap 40 minutes of movie-dependent filler in between.

I disagree on length, as I see myself a superior crafter of the best musical experience for myself.

But I agree with your assessment of the score's quality.

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The best scores of 2014 for me at the moment

1 Maleficent

2 Godzilla

3 DOTPOTA

4 Monuments Men

5 HTTYD2

6 Grand Budapest

been an awesome year for scores so far!

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The best scores of 2014 for me at the moment

1 Maleficent

2 Godzilla

3 DOTPOTA

4 Monuments Men

5 HTTYD2

6 Grand Budapest

been an awesome year for scores so far!

If I was to make that list (and I'm sure it would change 5 minutes later) it would go something like this: 4, 2, 3, 5, 6, 1. After that, Spider-Man, Noah and maybe bits of... Oldboy. Not sure if I can count The Unknown Known as this years' score (it's from a 2013 film).

Karol

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i'm eager to listen to this... but this time i want to wait to the film.

I want to get surprised by a film score with the film, a thing i have not done in a very long time.

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I stopped bothering to do that years ago. I always just want to hear the music right away.

The first time I see a film I am just taking in the story anyway, not examining the music, so it doesn't increase my enjoyment if I hadn't heard the score yet or not.

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Oldboy opened in November in the USA. Definitely a 2013 film.

I was wrong about The Unknown Known. it's a 2014 film.

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http://www.filmmusicsociety.org/news_events/features/2014/070814.html

One of the things that the earlier Apes films lacked was the idea of emotion. They were heavy on sci-fi and weirdness but emotion was not really explored. When I first saw this film, I realized there are no bad guys. There are characters who believe different things. Both sides are trying to convince the other that what they believe is right, and they have valid reasons for believing that. Matt has created something that is incredibly complex in all the right way."

Arrogant bullshit. They were never mawkish or obvious or in their emotion (like Gia can be), but there was plenty of feeling in the first three films, beyond alienation - especially ESCAPE FROM THE PLANET OF THE APES. Awe/wonder, maternal love, sadness and joy.

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It's not arrogance so much as it is promotional bs. Expanding on the obvious, trying to make the age-old Pocahontas/Avatar plot seem like a genuine novelty of the film...he's just trying to sell the movie like everyone else.

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I didn't get the chance to listen to it yet. But that's what tonight's for!

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http://www.filmmusicsociety.org/news_events/features/2014/070814.html

One of the things that the earlier Apes films lacked was the idea of emotion. They were heavy on sci-fi and weirdness but emotion was not really explored. When I first saw this film, I realized there are no bad guys. There are characters who believe different things. Both sides are trying to convince the other that what they believe is right, and they have valid reasons for believing that. Matt has created something that is incredibly complex in all the right way."

Arrogant bullshit. They were never mawkish or obvious or in their emotion (like Gia can be), but there was plenty of feeling in the first three films, beyond alienation - especially ESCAPE FROM THE PLANET OF THE APES. Awe/wonder, maternal love, sadness and joy.

I find it puzzling. Even the last film score gave Ceasar a lot attention.

Karol

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You know what? The album is indeed gargantuan in terms of length, but I reckon it flows very well. I don't really care whether they last 40 or 80 minutes, as long as they take me "on a journey".

Karol

A 'journey' doesn't mean a lot if the material comprising it is no good.

I too think it would be nice if, along with the more comprehensive release, a producer made a tight 40 minute album which introduces you to the score.

It's actually rather unusual for me to see a film and want anything more than a couple of standout cues (or maybe a half hour). Entire albums are a minority for me (for newer material).

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You see, it depends on how you listen to film scores. Some people like them for tunes, some for compositional highlights. Others, like me, enjoy narrative of film music. I'm not as interested in isolated pieces, but how different things come together and how one things leads to another. Less concerned about what these "things" are on their own.

Karol

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You see, it depends on how you listen to film scores. Some people like them for tunes, some for compositional highlights. Others, like me, enjoy narrative of film music. I'm not as interested in isolated pieces, but how different things come together and how one things leads to another. Less concerned about what these "things" are on their own.

Karol

Film music's worst enemies, redundancy and dead filler isn't exactly helping the journey to be a smooth ride. Editing this score to 50 minutes would have provided a more fulfilling listen.

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Yeah, but continuous 50 minute orgasm wouldn't be exactly the best kind experience either, would it?

In the case of Giacchino's own Super 8 (for example) one of my very favourite tracks is 10-minute Creature Comforts. I know many people treat is redundant filler, but the release of emotion in the last two tracks wouldn't have been quite as effective if they skipped this one.

Karol

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While I agree with Karol's approach to listening to scores, I wholeheartedly agree with pub's assessment of Super 8.

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The best scores of 2014 for me at the moment

1 Maleficent

2 Godzilla

3 DOTPOTA

4 Monuments Men

5 HTTYD2

6 Grand Budapest

been an awesome year for scores so far!

How the hell can anyone possibly rate Godzilla and Dawn of the Planet of the Apes higher than How to Train Your Dragon?

For me, the whole SUPER 8 score is redundant filler, so i am not following you there.. ;)

^ This! So very much this!

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How the hell can anyone possibly rate Godzilla and Dawn of the Planet of the Apes higher than How to Train Your Dragon?

I've never been as high on the HTTYD scores as many around here are. It's a welcome change to the RCP dreck that most blockbuster films get these days, but they don't blow me away to the level that many of the younger folk here are blown away by them. I do like them, though.

Godzilla's awesome, the OST is not a good representation of the complete score.

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While I agree with Karol's approach to listening to scores, I wholeheartedly agree with pub's assessment of Super 8.

You cannot agree with both of us. Choose, Canadian!

Besides, never said anything about Super 8's quality (or lack of it). That's beside the point.

Karol

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Just saw the movie today.

The xylophones just about killed the incidental suspense and action sequences for me.

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Of course I like xylophones.

But in this context, they were a distraction. Their bright, wooden sound took away from the suspensful soundscape already being provided by the instrumental minimalism (e.g. the scene where Koba and his followers scout the armory). Maybe if they were bowed instead of struck...

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The only score I like this year so far is Monuments Men

Grand Budapest was the "gimmick score" so far,i'll probably be nominated for an Oscar

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I'm not familiar with the term "gimmick score."

Could you elaborate before I answer an anti-xylophone accusation?

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After listening to that track on the soundtrack, all I can say is...

Poor Alexander Desplat. :(

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