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Alan Silvestri's READY PLAYER ONE (2018)


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7 minutes ago, Chewy said:

CD is coming out this Friday for europeans though :) https://www.amazon.co.uk/dp/B07B61G8F1/

 

Lucky Europeans!


WaterTower Records seems to always be behind the curve

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9 hours ago, Pieter_Boelen said:

 

Let's see what Silvestri does with the gazillion characters in The Avengers now!

 

I am particularly interested in how they will justify the need for so many characters working together at the same time. And I hope Silvestri handles the situation efficiently, he can not play the theme of avengers every time a hero practices a "heroic act.".

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Saw the film yesterday. Haven't quite decided on where I'll land in terms of evaluation. I'm a bit torn on several aspects.

 

Score was great, in-your-face and old-school. Not sure if it holds up to 2 CDs or 80 minutes, from what I could hear, but we'll find out soon.

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Listened to the score for the third time...it's better and better. Best Silvestri's score since Beowulf, it's a kind of BTTF4.

The End Credits is pure action.

 

Love it. 

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Listening now an an appropriate volume

 

"An Orb Meeting" seems to reference the March from 1941

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I thought the same thing! Also a bit of Williams' scherzo style in tracks like "Arty on the Inside". So it's not altogether bereft of JW influence.

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7 minutes ago, Jay said:

"Real World Consequences" features a bunch of BTTF material but not the actual theme

 

Yup. I thought that was weird when I saw the film too, for a scene involving

Spoiler

the socalled Zemeckis Cube

.

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"High 5 Assemblies" features a take on the martial type music from BTTF

 

 

I liked Silvestri's use of electronics in "Sorento Makes An Offer" and "Orb of Osuvox"

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And don't forget a brief but sweet little quote from Max Steiner's King Kong in why Can't We Go Backwards?.

 

And yeah, there are quite a few references to BTTF all over.

 

Karol

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Why does "Hello, I'm James Haliday" start with Bach's "Toccata and Fugue" again? I've forgotten if there was any narrative reason for this.

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2 minutes ago, Thor said:

Why does "Hello, I'm James Haliday" start with Bach's "Toccata and Fugue" again? I've forgotten if there was any narrative reason for this.

Spoiler

It is the moment when Halliday rises from Spock's coffin, Dracula-style.

 

 

Karol

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Ah, thanks. I missed that. Since I got faulty 3D glasses at the press screening, I had to run out and get new ones and missed quite a bit of the first 5 minutes. Must have happened then.

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1 hour ago, Thor said:

Also a bit of Williams' scherzo style in tracks like "Arty on the Inside". So it's not altogether bereft of JW influence.

 

Everybody Runs from Minority Report.

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Most of the bits I listened to seemed to lean very heavily on BTTF.

 

I'd probably put this down as a disappointment, but it's way too easy to get overblown, rosy-tinted expectations for a score like this. Minority has some of the dullest 'drama' scoring I've ever heard so it was never a given that SS would request anything revolutionary for RPO.

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There is nothing dull in MINORITY REPORT, neither the drama or action bits. Brilliant score from start to finish.

 

But there are several semi-dull tracks on RPO that I'm going to weed out to make for a more succinct experience.

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12 minutes ago, Stefancos said:

Is the OST really over 90 minutes? It didn't even feel like there was that much?

 

I felt it could make a solid 50 minute album.

It is 84 minutes but the final end credit track seems to be an edit of several cues. Not sure if there is any material in there that is exclusive to this track.  So it appears to be a 76-minute album in the end. And yeah, it is probably a bit too long.

 

Karol

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True, but if they referenced BTTF, GODZILLA and KING KONG, it's weird that they didn't reference THE IRON GIANT -- which has far more of a presence in the movie than those. Or AKIRA. As previously mentioned, might be a clearance issue.

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The long BTTF sequence in "Hold On To Something" was fun

 

But then "What Are You" and "There's Something I Need To Do" are not very compelling "Wrap-up" tracks.

 

The "Main Title" track is nice, but comes way too late.


The End Credits doesn't work for me, sometihng's weird about it.

 

So, a bit of a mixed bag of an album.

 

Could be one of those cases where key sequences in the film are "scored' by existing pop/rock songs, leaving holes in a score program since he didn't score the moments other cues are leading up to.

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