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Ennio Morricone - The Hateful Eight


Muad'Dib

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But it isn't THE THING. It's really from LA PIOVRA, REVOLVER and LE MARGINAL, his mid 70's to 80's crime thrillers. If it takes Tarantino to make them famous, i'm not opposed. ;)

Yeah, it sounded a lot closer to what little I've heard of that era of Morricone. I'm not sure if this is really new territory for the composer, but I'll take it over Williams' now-confirmed "Rey's Theme"!

Speaking of which, I really do need to get more familiar with his body of work.

Okay now that's stuck in my head.

The creepy bassoons yes.

Indeed. Love the dark edge to it.

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He has such a ridiculously fine touch with orchestration.

Come on, now let's have Voyage of Time....

How, in your opinion, does it compare to the disappointing The Force Awakens?

I prefer TFA.

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He has such a ridiculously fine touch with orchestration.

Come on, now let's have Voyage of Time....

How, in your opinion, does it compare to the disappointing The Force Awakens?

I prefer TFA.

For what reasons?

Truth be told, I haven't heard either score apart from a few seconds. I did skip to the middle of "I can fly anybody" and heard a particularly awesome Lost World-like heroic statement for 2 seconds before closing it.

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I don't understand how Birdman gets disqualified yet Hateful Eight goes through unscathed. And they did the same to Innaritu again with The Revenant!

Because of this rule: “Scores diluted by the use of tracked themes or other preexisting music, diminished in impact by the predominant use of songs or assembled from the music of more than one composer shall not be eligible.” and the music is supposed to be original and composed specifically for the film through a discussion between the creative team (director and composer). The point is to prevent dilution of soundtracks being filled with songs not written for the films but used to bolster the feeling of being in a certain place and time.

This isn't scientific where if 30% of the score is pre-existing then the score is ineligible but they listen to the importance of the pre-existing music in terms of the story and creative direction of the film and decide based on that if the score is eligible. So it's possible that one film has 30% pre-existing music and qualifies for oscar consideration and another score 25% and does NOT qualify because of how important a role the pre-existing music ultimately served. In short, it is clearly a judgement call made by the music branch and not a science.

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In short, they're a bunch of idiots.

This is how contests work. The judgement of a group that is supposed to be deemed leaders in the field and diverse but ultimately exercise valued judgement...and sometimes they DO get it wrong ("Crash" wins best picture).

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Yup. Eligibility is the only criteria the list is based on. It's not the final short-list before nominations.

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I honestly didn't really think about it before they were announced.

I just hope it was deemed ineligible because they decided it used too much Shifrin and Turandot, and not that it was simply not submitted by Paramount.

For example, Jupiter Ascending didn't make the short list, and that's fully original. So someone must have chosen not to submit that one.

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I love the acoustics too. It's dry but not in the plaster-y Giacchino sense. It's woody. You can almost hear the firs, pines and spruces of the Rocky Mountains groaning in chorus.

My favourite track is Raggi di Sole Solla Montagna. A sort of ode to Italian serialists like Maderna, Dallapicolla and Petrassi--and Morricone's own roots as a composer.

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My favourite track is Raggi di Sole Solla Montagna. A sort of ode to Italian serialists like Maderna, Dallapicolla and Petrassi--and Morricone's own roots as a composer.

I was just about to point this out. Fantastic piece, that one. "L'inferno Bianco" is also great.

The dry sound is fantastic, it gives the score a real edge. And makes it those low bassoons even more chilling.

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Is there a translation of the track titles somewhere, just curious? Don't think google translate is accurate as it says the first track is "The Last Stagecoach Red Rock (Complete Version)".

Edit: Nvm, found it earlier in this very thread. Just ignore me.

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Jennifer Jason Leigh was phenomenal, so I am thankful!

 

For what it's worth, the overture was nice, as was the beginning.  The material, what little there is, is a bit repetitive in the film.  There isn't much of it.  The movie isn't the type that leans on or requires much music.

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This might be Tarantino's most demented film yet. I loved it and yet it is thoroughly unlikable, intentionally so. Everything in that second half, yikes! This is actually the closest he's gotten to a horror film, at least in style and atmosphere.

 

It essentially merited the 3 hour running time, though I'm sure many will disagree. Held my interest throughout, anyway, it's a slow burn but QT knows how to keep the fire going. And I loved Morricone's score. I agree that it's repetitive but I think that aspect of it really works to the film's benefit. 

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9 minutes ago, mrbellamy said:

This is actually the closest he's gotten to a horror film, at least in style and atmosphere.

 

 

Let me guess ... it's reminiscent of The Thing! Right?!

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I saw the movie yesterday and really enjoyed it.  Music was great.  More easily accessible than TFA (surprisingly) so hard to say which is better...but if I was I was only going on first impressions from the movie, morricone would take the cake.  Which pieces were not original?

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