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What is the Last Cue You Listened To?


Sharkissimo

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I just finished a terrifying final stage interview for a job I'm pursuing but I got the impression that it went really well, so I needed to listen to something cathartic and... well, redemptive. 

 

This more than fits the bill. Crikey, I'm glad that's over. :eh:

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10 hours ago, Brónach said:

I was going to pick a cue, but i don't want to (and it rules)

 

Fantastic movie, and the score works quite well in it. Also great is the score Arson did for one of the director, Rodrigo Sorogoyen, previous movies, El Reino, I think internationally known as The Realm. It's an electronic score that works surprisingly well within the movie, which is also fantastic, a masterclass in script-writing, tension building and acting!

 

From Spain, I also recommend two of my favorite scores from last year: Las Niñas de Cristal by Iván Palomares, and Irati by Aranzazu Calleja & Maite Arroitajauregui. There are some other great spanish scores, like Fernando Velazquez's God's Crooked Lines, but those I mentioned are a perfect showcase of strong, melodic writing with excellent orchestrations and an intelligent narrative that perfectly fits the respective movies.

 

Palomares' score is soft, lyrical and romantic, with a gorgeous main theme showcased in the first part of the following cue:

 

As for Irati, is heavily influenced by folk-music from the north of Spain, with some unusual and exotic instruments and with the ethereal and mystical presence of the choir, but with a strong main theme for the protagonist that is developed through the whole score, with a great variation in the following cue:

 

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Over the last few days I've been listening obssessively to Alan Silvestri's great score for Contact, specifically this amazing cue. Reminds me a bit of his Avengers scores, and I can see this cue being used as temp track everywhere in Infinity War and Endgame.

 

 

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On 14/04/2023 at 12:03 AM, Edmilson said:

One of Thomas Newman's most wonderful compositions:

 

 

 

I've always loved this cue. Such delicacy.

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On 14/04/2023 at 9:45 PM, Edmilson said:

Over the last few days I've been listening obssessively to Alan Silvestri's great score for Contact, specifically this amazing cue. Reminds me a bit of his Avengers scores, and I can see this cue being used as temp track everywhere in Infinity War and Endgame.

 

 

thank you for the hint.

I listened to Contact now as well a few times the past week and it somehow seems to be his "Spacecamp", even though it cannot keep up with Williams' effort. But it is really nice and atmospheric.

And... almost no woodwinds. 

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  • 2 weeks later...
6 minutes ago, Edmilson said:

Such a gorgeous cue. It's so peaceful and touching, with some echoes of Meet Joe Black.

 

 

 

No other composer orchestrates strings to sound so velvety soft. Gorgeous.

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Opening Cutscene, Pt.1 - Sonic Unleashed

 

This cue all by itself got me hooked on this game.  It's got clear, strong themes and dynamic, engaging action that fits the onscreen feats like a glove.

 

I've definitely got the full soundtrack in my sights on Amazon!

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  • 3 weeks later...

I love that choral bit when Faramir ducks behind the pillar and let's the archers take down the Orcs behind him, and then decides to fall back to Minas Tirith.

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11 hours ago, Brónach said:

 

This is some cue. Do you like setpieces? Do you like scores that somehow sound specifically like themselves and not like other scores? well!

This cue is incredible!!

I listened to the full score again yesterday. It's my no. 1 score of the year at this moment. Great stuff!!

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On 06/05/2023 at 4:21 PM, Edmilson said:

Had James Horner scored a Batman movie in the 90s or even the 2000s, this would've been his Batman theme:

 

 

There should be a thread about would-be Batman themes from the 1990s by talent that would have been able to get those commissions - like Silvestri  and this end credits to Judge Dredd. If Goldenthal had not been hired on the basis of Interview with the Vampire and Demolition Man, Silvestri would have been a candidate.

 

JNH would probably been Schumacher's pick but he blew that bridge by blowing out of The Client. Williams and Goldsmith would have been considered but would have been too established in their sound. Probably the same for Horner (even if 2012 Spiderman refutes that). Warner Bris were looking for a fresh sound so Goldenthal was the guy

On 27/06/2023 at 8:40 PM, JNHFan2000 said:

This cue is incredible!!

I listened to the full score again yesterday. It's my no. 1 score of the year at this moment. Great stuff!!

Not feeling it for any of DP's stuff, despite the 'live djs'!) Sounds like a Balfe with a bit more time on his hands and a jazzy touch. I know PB is capable of actually interesting compositions so am surprised why his Spiderman stuff is getting so much attention. He reworked a motif from the first score into what is still his only great piece of work:

 

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  • 2 weeks later...

On thing that impresses me about JW is that although his film music is written under time pressure, it's so well thought through that he doesn't have to change much when turning a piece into a concert arrangement. 

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Another thing I love about him is that often he writes entire pieces of themes for certain characters that aren’t even part of the score, are not heard in the film in their entirety, yet he takes the time and effort to compose them for the film, uses segments of them as leitmotifs in the score and later puts them on the soundtrack album as individual “character pieces” or themes. Like Princess Leia’s Theme in Star Wars. 

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So for each one of my Indy score fanedits, I always have the playlists start with a piece of music that serves as a sort of "prelude" to the score.

 

Raiders gets the DCC version of the short Raiders March with the coda, Last Crusade gets a concert arrangement of the Scherzo.

 

And Temple of Doom gets this:

 

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  • 2 weeks later...

 

Awhile back, I replaced Spock Walk in my driving playlist with Stealing The Enterprise (I find Spock Walk too intense for driving, you see).  I tried out Stealing The Enterprise just this morning on my way back home from my volunteering gig...

 

I have no regrets putting this in my driving rotation.  6:12-6:50 played just as I cleared the last traffic light and was driving down the last road leading up to my house.  When I arrived I sat in the car and let the cue finish.

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  • 3 weeks later...

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