|
I think we're starting to get that a bit with Giacchino, if only because he's started to ape John Williams even more with his John Carter and Super 8 scores, both of which were great (I think Sab Than Pursues the Princess is one of my favorite bits of scoring in 2012): https://www.youtube.com/watch?v=TKtg2nJa1to
|
#
¿
Dec 4, 2012 07:34
|
|
|
|
| # ¿ Apr 29, 2024 08:10 |
|
|
Stare-Out posted:Metallic percussion is another one of his that he's really clinging to ever since Aliens. Also listening to "The Destruction of Hometree" now and it really is in large parts "Death of Titanic" Mk.II, isn't it? There are moments in nearly every score he's ever done that come really, really close to being good and memorable and then just falls back to one of his gimmicks. Some tracks from Braveheart and Titanic are downright interchangeable. I'm not as harsh on the ASM score, but that's because a decent theme gets me a long way. Listening to the rest of the score, though, it does all sound very Samey and inappropriate. I still manage to hum the theme, however.
|
|
#
¿
Dec 4, 2012 14:36
|
|
|
Hibernator posted:A recent example of this is Jon Brion's ParaNorman, which omits the incredible finale (which sounds a great deal influenced by Clint Mansell's The Fountain) Are you kidding? Man, that would have been the one track I would shell out for. 
|
|
#
¿
Dec 7, 2012 03:55
|
|
|
Darthemed posted:Since everyone contributing to this thread seems quite well-informed, I have to ask: who are the worst offenders when it comes to overuse of tinkly piano? It seems like this trend has died down quite a bit since the '90s (I'm looking at you, Forrest Gump score), but I don't see as many modern movies as I used to, so I'm curious if any contemporary composers are carrying on with this tradition. (And although it certainly does indulge in this practice, Jerry Goldsmith's score for A Patch of Blue is the one score I can think of that manages to overwhelm my usual objection to that style.) It's tough, but from what I can tell Alexandre Desplat is going crazy with the tinkly piano in a lot of his scores now (King's Speech, Benjamin Button), but most of his stuff is still incredibly solid - especially his action scoring. The aforementioned Horner is also doing plenty of the tinkly piano; I seem to remember quite a bit of it in ASM.
|
|
#
¿
Dec 10, 2012 04:09
|
|
|
The Mummy score is the third CD I ever owned; it's a winner. I could probably hum that whole thing from memory. The best part is, Silvestri's Mummy Returns score is just as good, even though he self-plagiarizes from it later (the themes for both this and The Avengers are practically the same at different tempos).
|
|
#
¿
Dec 20, 2012 21:45
|
|
|
Darko posted:I'd agree with that - but the counterpoint is showing me one person who has ever made that "hummable" statement that isn't actually basing it on a film that they already like. I can't really relate to this, since there are days when I still get Black Hole, John Carter, ASM and Wing Commander themes in my head.
|
|
#
¿
Dec 22, 2012 18:30
|
|
|
Stare-Out posted:
I actually only thought Shore's score for The Hobbit was okay - I was kind of ruined by him re-using a lot of bits from Hugo, despite his dwarf theme being really good. I'm disappointed the Academy didn't put Beasts on here, or more out-there stuff like the Dredd or Haywire soundtrack. Anymore, Desplat and Williams' work sounds a bit like aural wallpaper. (I also know it never had a chance, but I LOVED Giacchino's John Carter score.)
|
|
#
¿
Jan 10, 2013 16:25
|
|
2013 OSCAR NOMINEES FOR BEST ORIGINAL SCORE
|
Stare-Out posted:I recently got the complete version of Elliot Goldenthal's score for "Alien 3" and it's fantastic. Goldenthal's work is always fantastic - he locks down that amazing Gothic sound so well. It really makes me wish he did more scores nowadays, rather than just for his partner Julie Taymor. His score for Final Fantasy: The Spirits Within is actually one of my favorite scores ever: https://www.youtube.com/watch?v=NBZwtGyd6K4 https://www.youtube.com/watch?v=wJSNcMUWbWA https://www.youtube.com/watch?v=BKSUmEh2IPQ
|
|
#
¿
Feb 12, 2013 06:50
|
|
|
The Oblivion soundtrack is now streaming in full here: http://consequenceofsound.net/2013/04/listen-to-m83s-soundtrack-for-tom-cruise-sci-fi-film-oblivion/ Tracks like Jack's Dream and Canyon Battle are really kicking my rear end right now. It definitely has those ambient, electronic Tron Legacy vibes, which I like a lot.
|
|
#
¿
Apr 4, 2013 18:32
|
|
|
I've actually really been digging Brian Tyler's work since he started working more high-profile projects - it may help that he mostly does big action movies, but his scores always have a nice, fresh energy to them that I admire. Plus one of his early works was his surprisingly great score to the Children of Dune miniseries, which allowed him to do space opera.
|
|
#
¿
May 9, 2013 20:03
|
|
|
I'm falling more in love with Brian Tyler, who's quickly turning into the new Lalo Schifrin: https://www.youtube.com/watch?v=zypcnjlhCNU (It's not particularly innovative, I know, but it's a lot of fun to listen to, and I love that Brian Tyler's thing is that he does his own drums/guitar and just enhances that with orchestra around it.)
|
|
#
¿
Jun 3, 2013 20:49
|
|
|
OneThousandMonkeys posted:The Aliens and Star Trek II soundtracks are two of my favorites of all time, I don't really care if even by that time he had plagiarized himself ten times over. Although, if I recall, the Aliens soundtrack was also one where he was required to cook it up in three weeks. Yeah, he had to cook up Star Trek III's in about ten days as well, which is lucky that he was able to organically reuse his themes from Wrath of Khan. At the same time, I still really liked his Klingon theme and the Stealing the Enterprise cue.
|
|
#
¿
Jun 14, 2013 02:58
|
|
|
Jewmanji posted:I just saw Monster's University, the score of which was pretty forgettable, but the short before it, "The Blue Umbrella" was not only one of the most charming and impressive things that Pixar has ever done, but featured Jon Brion for the score. I don't know what the general consensus is about Brion- I can understand if some people find him overwhelming saccharine- but I find his melodies to almost supernaturally sweet and catchy. Does Pixar ever released scores/soundtracks for their shorts? I thought the short was pretty good, and Jon Brion's work is amazing (just like with his ParaNorman score and others, some of which are linked earlier in the thread). However, it did admittedly feel a bit weird that Disney released two shorts in a row before their major tentpole animation releases that have the same basic premise: boy meets girl, boy loses girl to hustle and bustle of big city, goes through a series of mishaps to get back to her, all through the guise of anthropomorphized everyday objects (paper and the smiley-face city objects, respectively). It's not a complaint about either short individually, of course, but the trend itself is interesting.
|
|
#
¿
Jul 6, 2013 15:33
|
|
|
Jewmanji posted:I actually don't know what you're referencing- was this the short before Brave? I also haven't seen ParaNorman, which is silly considering the reviews, my appreciation for Coraline, and Brion- I should go get it this moment! Sorry, I mean Paperman, the short before Wreck-It Ralph (which I know wasn't Pixar, but it's definitely part of Disney's tradition of releasing a short before their major animation tentpoles, under which Pixar falls).
|
|
#
¿
Jul 6, 2013 16:44
|
|
|
teagone posted:James Newton Howard's Hunger Games soundtrack goes unappreciated I think. Catching Fire made me realize there's some good stuff going on with the score. I had to go back and listen to Horn of Plenty because drat that track owns. Didn't Arcade Fire compose that particular track, though? (Either way, I agree that the anthem is awesome.) EDIT: It looks like AR composed the tune and lyrics, but JNH arranged it into the orchestral version that's in the film. Hewlett fucked around with this message at 03:38 on Feb 4, 2014 |
|
#
¿
Feb 4, 2014 03:35
|
|
|
His John Carter score is as much an awesome John Williams homage as anything. Seriously, it's a great soundtrack.
|
|
#
¿
Dec 23, 2014 20:07
|
|
|
Phylodox posted:Case in point: Lady in the Water. Fantastic score. And Wing Commander.
|
|
#
¿
Feb 4, 2015 20:52
|
|
|
iSheep posted:Thomas Newman generally doesn't know how to score for the tone of the scene in general. I subscribe to the interpretation that the music in Beasts of the Southern Wild comes from Hushpuppy's head.
|
|
#
¿
Apr 16, 2015 19:37
|
|
|
Haven't mentioned this for fear of seeming too spammy, but I run a podcast (Right on Cue) that interviews film/TV/video game composers every 1-2 weeks. We've gotten some killer guests recently: Andrew Prahlow for Outer Wilds, Ted Shapiro for Severance, and one of the members of Son Lux for EEAAO, to name a few. Another fun recurring feature is getting composers to offer track commentaries on some of the most integral/fun/interesting tracks, which is such a treat. Today's ep is with Ben Lovett who scored the new Hellraiser -- we dug into a lot of interesting stuff, from building a "tortured" piano by detuning it, wrapping chains around it, etc., to juggling Christopher Young's original themes with Lovett's own approach. Hope y'all enjoy! https://open.spotify.com/show/0kpZClQu3Kl9veO6HYU9bi?si=4c90b014843a441d Hewlett fucked around with this message at 19:07 on Oct 29, 2022 |
|
#
¿
Oct 29, 2022 19:04
|
|
|
|
| # ¿ Apr 29, 2024 08:10 |
|
|
checkplease posted:That’s cool, I’ll check it out. I loved listening to film music podcast like Art of the Score, though they stopped updating. Thanks! Yeah, I loved them, and Score: The Podcast, but a lot of film score podcasts drop pretty quickly, which is a shame. If you're looking for other good film score podcasts that are also running, The Film Scorer is another scrappy small one like mine I can recommend. And it's Disney, but I really dig Jon Burlingame's "For Scores" pod.
|
|
#
¿
Oct 29, 2022 19:22
|
|