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Don't think we have a thread for this yet, but this will be out next week. Amazon has cover art and tracklist up.

 

51ggK099DOL.jpg

 

 1. Kelpcake (Thomas Newman)

  2. Finding Dory (Main Title) (Thomas Newman)

  3. Lost at Sea (Thomas Newman)

  4. One Year Later (Thomas Newman)

  5. Migration Song (Thomas Newman)

  6. "O, We're Going Home" (Thomas Newman)

  7. Jewel of Morro Bay (Thomas Newman)

  8. Gnarly Chop (Thomas Newman)

  9. Squid Chase (Thomas Newman)

  10. Sigourney Weaver (Thomas Newman)

  11. Hank (Thomas Newman)

  12. Nobody's Fine (Thomas Newman)

  13. Rebecca Darling (Thomas Newman)

  14. Meet Destiny (Thomas Newman)

  15. Joker at Work (Thomas Newman)

  16. Becky Flies (Thomas Newman)

  17. Hands! (Thomas Newman)

  18. Almost Home (Thomas Newman)

  19. Open Ocean (Thomas Newman)

  20. Two Lefts and a Right (Thomas Newman)

  21. Everything About You (Thomas Newman)

  22. Quarantine (Thomas Newman)

  23. Warp (Thomas Newman)

  24. All Alone (Thomas Newman)

  25. ...Shells (Thomas Newman)

  26. No Walls (Thomas Newman)

  27. Okay with Crazy (Thomas Newman)

  28. Hide and Seek (Thomas Newman)

  29. Quite a View (Thomas Newman)

  30. Unforgettable (Sia)

  31. Three Hearts (End Title) (Thomas Newman)

  32. Loon Tune (Thomas Newman)

  33. Fish Who Wander (Thomas Newman)

  34. Release (Thomas Newman)

 

Love the first score as well as Wall*E, so looking forward to this!

 

ETA: Went browsing around Andrew Stanton's Twitter...

 

 

From a question about reuse of old themes:

 

Presumably from a question about temp tracks....wonder if we'll be able to spot that ;)

 

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Idiot!

OK instead of "fun" I should have used the words "stupid, but in a fun way." I prefer my Bond movies to be stupid, but in a fun and silly way.   (If you haven't figured it out, Moore is my f

Skyfall was great score. Spectre, much less so. Aside from some great moments, there was just too much carryover in material. The Second Best Marigold Hotel suffered from the same problem, acting as almost a carbon copy of its admirable predecessor.

 

I think the problem is that Newman's approach has always been so heavily focused on crafting unique textures and colours for a project, so that when he does a sequel, he just carries that over with little variation, for continuity's sake. A sequel doesn't necessarily demand a whole new soundscape from him. But maybe Finding Dory will be different.

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16 minutes ago, TheWhiteRider said:

And the Craig Bonds are totally fun films!

 

 

OK instead of "fun" I should have used the words "stupid, but in a fun way." I prefer my Bond movies to be stupid, but in a fun and silly way.

 

(If you haven't figured it out, Moore is my favorite Bond)

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We disagree there, friend. Yes, there is some wonderful Newman lyricism in Spectre, but much of the score is based on musical cells and colours that were already established in the previous score. And Newman doesn't build upon that material very much, nor does his new material present much that is interesting, outside of select highlights. Skyfall pushed Newman out of his comfort zone more, and it gave us a more diverse product. Spectre drones through too many of the familiar Newman-isms.

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I guess what holds Skyfall back for me is the heavy presence of drum loop type things and choppy ostinatos.  Spectre moves more into slick ambient stylings.

 

14 minutes ago, Disco Stu said:

 

OK instead of "fun" I should have used the words "stupid, but in a fun way." I prefer my Bond movies to be stupid, but in a fun and silly way.

 

(If you haven't figured it out, Moore is my favorite Bond)

 

Moore rocks!

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3 hours ago, TheWhiteRider said:

I guess what holds Skyfall back for me is the heavy presence of drum loop type things and choppy ostinatos.  Spectre moves more into slick ambient stylings.


I agree. I liked Skyfall, but it seemed to have TRON: Legacy and The Dark Knight in its temp track for no good reason.

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Just saw the movie today.

 

The music for the ambient underwater sequences reminded me of Debussy's La Mer (the more calm parts, that is), and Newman was giving it a synth patch upgrade in some parts of the score compared to the other parts.

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An LA Times article by Tim Greiving about the score (it includes comments from Newman and director Andrew Stanton):

 

http://www.latimes.com/entertainment/movies/la-et-mn-thomas-newman-finding-dory-20160603-snap-story.html

 

After reading that piece, I decided to listen to a couple more tracks from the album. I must say, this score's better than I was giving Newman credit for initially. The couple tracks I listened to originally were not sufficiently representative of the score, it seems. 

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