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Hans Zimmer started on INTERSTELLAR


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I like it because it doesn't say virtually anything about the plot but completely nails the film's tone and the music is a big part of that.

I love trailers like that. They're like Polaroids of the film. Brief flashes but oh so telling.

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Trailers do not need to hold up after the films release. They are a marketing tool, nothing more. They have no artistic value.

http://goldentrailer.com/

http://www.keyartaward.com/winners/2014/av/

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Also what if I told you...

that Nolan (& Lee Smith, his editor) cut this one originally?

Screen_Shot_2014-01-13_at_6.09.39_PM_lar

Along with the initial teaser, yeah, they're the ones that hold up now having seen the film.

Obviously thanks to Hans.

Hope you appreciate the change (that was necessary because Kip's soundbite from the original trailer was specially filmed therefore not available besides bootleg) :D
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I like it because it doesn't say virtually anything about the plot but completely nails the film's tone and the music is a big part of that.

Karol

Agreed.

But my favourite is still this one, if only because of Marianelli. He should do a space epic sometime!

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I like it because it doesn't say virtually anything about the plot but completely nails the film's tone and the music is a big part of that.

Karol

Agreed.

But my favourite is still this one, if only because of Marianelli. He should do a space epic sometime!

Agreed, this one is my absolute favourite too.

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Also another very similar trailer to the Interstellar IMAX one that I think also was cut by the film's director and like crocodile says, manages to nail the tone of the film without talking plot, is this IMAX trailer for Lucy:

Chills. Shame the film was a bit...meh?

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Someone on FSM received the vinyl edition

I got it on Vinyl.
I think this sequence might be the best presentation of the score, doing justice to the very different
kinds of music which the deluxe selection does not.
And the package is really nice, a four page bookle the size of the cover.
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Trailers do not need to hold up after the films release. They are a marketing tool, nothing more. They have no artistic value.

Film scores do not need to hold up away from the film. They are accompaniment, nothing more. They have no artistic value.

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Someone on FSM received the vinyl edition

I got it on Vinyl.
I think this sequence might be the best presentation of the score, doing justice to the very different
kinds of music which the deluxe selection does not.
And the package is really nice, a four page bookle the size of the cover.

Yeah I got mine too. Maybe it's a nicer presentation, but... unless you're a vinyl fan, it's not like you have to buy it to have that particular track order.

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Yeah, that's what I thought. I've got that playlist on my iPod.

I like the idea that each side feels like a separate movement of sorts.

Karol

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This score has groen on me and I love the use of the organ.

Also, in the above "Cosmic Sounds," video, I was surprised at hearing Zimmer make the comparison between his using a real orchestra and Nolan using real film.

The thing with Zimmer is, when he strays away from his now signature sound, I really like some of what he puts out.

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11071784_10153747986659128_4523424478818

The double LP #Vinyl Interstellar Movie soundtrack is being released by Watertower Music on 4/14. http://smarturl.it/interstellar_lp#RecordStoreDay

https://www.facebook.com/hanszimmer/photos/a.230201354127.178112.7170054127/10153747986659128/?type=1&permPage=1

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It's actually kind of ironic, given that the only thing I feared would go wrong was the score, and I think I said so several times back then.

Now the film has good stuff (the launching scene, the odd looking robots, the spherical wormhole, the breathtaking looks of the black hole, Cooper seeing his children's videos, the docking scene, the music) but at some point I felt like it was going in circles and into a failed attempt at Spielbergian cheese. It looks like a cool draft for a better film.

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When did you come back?

Today.

Also. I really dig the bassoon-piano-percussion thing in the action theme. The colour of it. Before the organ kicks in, but also afterwards.

The whole score is a great testament to Zimmer's ability to create moments of sheer power, with or without synths/big drums. I enjoy both brands, but might prefer this one. And there is the typical motivic and thematic unity and ingenuity that characterizes so many of his scores, widely unappreciated, of course.

Magnificent music.

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The full score featurette that we saw a few minutes of back in November.

Shit, now I need to hear every individual session.

I really love the strings at around 8:40. Seriously need all of these individual sessions. Seriously.

Is it just me or is there some strangely distinctive English quality to that little bit?

Maybe it's reminding me of this.

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And there is the typical motivic and thematic unity and ingenuity that characterizes so many of his scores, widely unappreciated, of course.

I agree, although I find some of the raw motivic material here too slight and on the anaemic side. Less doesn't necessarily mean more. No matter how you much try and dress it up with brilliant orchestration, bariolage-style woodwind ostinati, or added ninths and suspensions, it's still that tired Aeolian Am-E/G-FM7-E/G-Am pop progression I've heard a thousands times before.

The full score featurette that we saw a few minutes of back in November.

Shit, now I need to hear every individual session.

I'm really intrigued by that choir/piano/alto flute cluster at 10:44 and 11:54. It first sounds like D-E-F, but then I hear D#-E-G. Are there quartertones? It's hard to tell with the piano reverb.

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And there is the typical motivic and thematic unity and ingenuity that characterizes so many of his scores, widely unappreciated, of course.

I agree, although I find some of the raw motivic material here too slight and on the anaemic side. Less doesn't necessarily mean more. No matter how you much try and dress it up with brilliant orchestration, bariolage-style woodwind ostinati, or added ninths and suspensions, it's still that tired Aeolian Am-E/G-FM7-E/G-Am pop progression I've heard a thousands times before.

That's understandable. All of the other musical building blocks hold up on their own, but that central chord thing seems really dependent on whether or not the film moves you and you invest that meaning into it.

That cluster has been bugging me too. I think I just heard it in The Thin Red Line the other day, let me check. Actually it might have been The Da Vinci Code. Either way, I believe it is D-E-G with something (flutes or the women?) slightly bending up to D# each time. It really does stick in your head.

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And there is the typical motivic and thematic unity and ingenuity that characterizes so many of his scores, widely unappreciated, of course.

I agree, although I find some of the raw motivic material here too slight and on the anaemic side. Less doesn't necessarily mean more. No matter how you much try and dress it up with brilliant orchestration, bariolage-style woodwind ostinati, or added ninths and suspensions, it's still that tired Aeolian Am-E/G-FM7-E/G-Am pop progression I've heard a thousands times before.

That's understandable. All of the other musical building blocks hold up on their own, but that central chord thing seems really dependent on whether or not the film moves you and you invest that meaning into it.

Agreed. It's like a Rorschach ink blot. It's neutral, so you project your own feelings and ideas onto it. BTW that Ades piece is lovely.

That cluster has been bugging me too. I think I just heard it in The Thin Red Line the other day, let me check. Actually it might have been The Da Vinci Code. Either way, I believe it is D-E-G with something (flutes or the women?) slightly bending up to D# each time. It really does stick in your head.

Let me know if you find the cue. I really need to revisit TTRL. I think it's it's the flutes doing quartertone pitch bend, but it could easily be both (altos + alto flutes?). I'd love to get my hand on the stems, or better yet, the score.

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The full score featurette that we saw a few minutes of back in November.

Shit, now I need to hear every individual session.

Fan-fucking-tastic!

It's incredible how much of this score is done acoustically. The genius behind this score ultimately lies in Zimmer's need to create a whole new musical vocabulary. So much time spent just fooling around and experimenting at the recording, and what you end up with is this wonderful collage of various musical colours. I love that organ sound right before the 7min mark. Also, I wish the strings for the big Straussian climax didn't end up so processed in the final product.

And there is the typical motivic and thematic unity and ingenuity that characterizes so many of his scores, widely unappreciated, of course.

I agree, although I find some of the raw motivic material here too slight and on the anaemic side. Less doesn't necessarily mean more. No matter how you much try and dress it up with brilliant orchestration, bariolage-style woodwind ostinati, or added ninths and suspensions, it's still that tired Aeolian Am-E/G-FM7-E/G-Am pop progression I've heard a thousands times before.

Spot on. And this is pretty much the core flaw with Interstellar. Brilliantly dressed around core ideas that are ultimately rather limp (the main progression and daughter theme that is).

The full score featurette that we saw a few minutes of back in November.

Shit, now I need to hear every individual session.

I'm really intrigued by that choir/piano/alto flute cluster at 10:44 and 11:54. It first sounds like D-E-F, but then I hear D#-E-G. Are there quartertones? It's hard to tell with the piano reverb.

That's definitely D-E-F, but there could be an upward quartertone pitch bend at the end with the choir. Also, by splitting the female voices across the cathedral, the acoustic reverb and clashes contribute to that nice murky sound. But I'm 90% sure the cluster they're singing/playing is D-E-F.

I'd love to get my hand on the stems, or better yet, the score.

With the live-to-projection event, perhaps the odds of the score leaking may not be so small?

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Oh I was thinking of this cue.

https://www.youtube.com/watch?v=dOl4C9cNuxM

I love Nolan and Smith being kind of agape at the lowest organ ranks haha... the old 32 bombarde is always a crowd pleaser.

It's tempting to hope that there is a live-to-projection score more widely circulated now, yes. From the look of it in that video, there is a "master" score even for the split sessions, that Greenaway is using.

Oh and yeah I meant D-E-F not D-E-G, with the low D bending up.

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I substituted some of the releases' cues that i found rather superfluous with the cues

Who's They?

Imperfect Lock

No Need to Come Back

Murph* (really a culmination/suite version of the curiosity theme and the best thing the score has to offer, imho, due to its shimmering impressionism)

It's still not something i would put on regularly - there is something too processed about all that goes above 'piano' - but i appreciate any score that tries for something bold even if it's not entirely my cup of tea.

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