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  1. Still on Thomas Newman's score for The Debt. It really is his most aggressive score to date...
    •  
      CommentAuthorScribe
    • CommentTimeNov 9th 2011
    It's taken a couple of years but I'm so very glad to see that Henry Jackman finally has written a score that seems to have convinced the majority of his talent smile
    I love you all. Never change. Well, unless you want to!
    •  
      CommentAuthorErik Woods
    • CommentTimeNov 9th 2011
    Nautilus wrote
    It's old fashioned vintage williams...yes. It reminds me when Williams didn't use Woodwinds all the time that he is doing in the last decade.


    I can't recall any Williams score where Williams HASN'T used woodwinds.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  4. I remember someone said sections of WAR OF THE WORLDS didn't. I didn't check it out to check on that -- but I doubt there's none at all.
    MUNICH was pretty light on woodwinds except where an oboe or clarinet carried the melody. They weren't really in the background doing other things, from memory.
    A butterfly thinks therefore I am
    •  
      CommentAuthorErik Woods
    • CommentTimeNov 9th 2011
    Now that I think of it IMAGES has no woodwinds or brass. Jordi, you'd love it! tongue

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorDemetris
    • CommentTimeNov 9th 2011
    FalkirkBairn wrote
    The Williams' is too Americana, the Cornish is just not interesting and the Bource is too much of the 20s (if I remember). Desplat's score has an interesting motif but it is just not that interesting.


    Have you seen the movie ? Ides of march ?
    Love Maintitles. It's full of Wanders.
  7. Christodoulides wrote
    FalkirkBairn wrote
    The Williams' is too Americana, the Cornish is just not interesting and the Bource is too much of the 20s (if I remember). Desplat's score has an interesting motif but it is just not that interesting.


    Have you seen the movie ? Ides of march ?

    Nope.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
  8. Americana? The last thing I'd say about War Horse is that it's Americana. There is a very pastoral feel to it. Most of the time.
    http://www.filmmusic.pl - Polish Film Music Review Website
  9. PawelStroinski wrote
    Americana? The last thing I'd say about War Horse is that it's Americana. There is a very pastoral feel to it. Most of the time.

    Not Americana in the sense of overly strong patriotic tones, but I can hear music that suggests open plains, not western but the pastoral feel you talk of.

    NP: The Ides of March - Alexandre Desplat

    Now the cue that's labeled on the promo as 5m5 is an excellent track and it could be a single cue contender for best of 2011, but that level of appeal is not sustained for me throughout the whole album.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    •  
      CommentAuthorErik Woods
    • CommentTimeNov 10th 2011 edited
    FalkirkBairn wrote
    NP: The Ides of March - Alexandre Desplat

    Now the cue that's labeled on the promo as 5m5 is an excellent track and it could be a single cue contender for best of 2011, but that level of appeal is not sustained for me throughout the whole album.


    You might want to read this to get an understanding of why the score sounds the way it does! I think it's fantastic!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  11. Erik Woods wrote
    FalkirkBairn wrote
    NP: The Ides of March - Alexandre Desplat

    Now the cue that's labeled on the promo as 5m5 is an excellent track and it could be a single cue contender for best of 2011, but that level of appeal is not sustained for me throughout the whole album.


    You might want to read this to get an understanding of why the score sounds the way it does! I think it's fantastic!

    -Erik-

    Thanks Erik. Funnily enough my two standout tracks from this score are the first and the last - I think they are the ones that he specifically talks about.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    •  
      CommentAuthorErik Woods
    • CommentTimeNov 10th 2011 edited
    I like the fragility of the majority of the cues in the score which represent the second motif in the film. Usually, that sort of stuff bores me to tears but for some reason I was expecting to hear that sort of smooth as glass like music and Desplat in Ides of March does it so well. I also like how he dissects that main theme heard in the first track and sprinkled elements of it... maybe a few bits of the melody, rhythm or instrumentation... throughout the course of the score. I'm truly impressed with Desplat when he is in this mode... Syriana and The Ghost Writer are other fantastic political thriller scores from the pen of Desplat that impress me.

    EDIT - I just got the Varese album and it's a much more balanced listen!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  13. I have just had another listen to the promo for The Ides of March. And I still have the same opinion: there are a few quality tracks but there are others that are really just filling the gaps between the excellent tracks.

    How does the Varese order differ, Erik?
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    •  
      CommentAuthorErik Woods
    • CommentTimeNov 10th 2011 edited
    Very much so. Here is the Varese album tracks.

    1. The Ides Of March (2:04)
    2. Undercurrents (3:51)
    3. Behind The Flag (1:47)
    4. Paranoia (1:27)
    5. The Candidate (4:09)
    6. Molly’s Solitude (3:53)
    7. Doubt (2:05)
    8. Molly (2:27)
    9. Zara Vs. Duffy (2:21)
    10. The Intern (2:02)
    11. Stephen Meyers (1:15)
    12. The Betrayal (2:15)
    13. Lobbying (4:45)
    14. Fired (1:47)
    15. The Campaign (2:40)

    For instance, that first track on the promo isn't heard until the last track. And the second to last track on the promo opens the album.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  15. I did see those tracklistings earlier and I tried to match up the various tracks from the durations but I wasn't too successful.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    • CommentAuthorTimmer
    • CommentTimeNov 10th 2011
    Erik Woods wrote
    DreamTheater wrote
    Southall wrote
    Poltergeist - J Goldsmith

    Excellent!


    Now THIS is what horror music should sound like. Chills to the max, and melodies to die for.


    But then again you can get some incredibly effective horror scores WITHOUT any melody whatsoever! It depends what the film called for. Altered States isn't a horror film per se but it's scary as f__k without any hint of melody at all.

    -Erik-


    yeah
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  17. LSH wrote
    NP: THE GREEN MILE - THOMAS NEWMAN

    One of my favourite Newman scores. It works amazingly in the film, which incidentally, is also one of my favourites. It almost seems like Newman's signature style was invented for this film - his trademark sound design punctuated by sparse instrumentation. Goosebump-inducing stuff. Love it.

    Probably in my Top 5 favorite Newman scores. I like this more than American Beauty.
  18. Erik Woods wrote
    FalkirkBairn wrote
    NP: The Ides of March - Alexandre Desplat

    Now the cue that's labeled on the promo as 5m5 is an excellent track and it could be a single cue contender for best of 2011, but that level of appeal is not sustained for me throughout the whole album.


    You might want to read this to get an understanding of why the score sounds the way it does! I think it's fantastic!

    -Erik-


    Great interview. I love what he said about HP and Williams.
  19. That is a good interview. I must say, when you compare his remarks on TREE OF LIFE to Horner's on THE NEW WORLD, he is so gracious. He knew the value of the experience wasn't necessarily in the result, it was in the process.
    A butterfly thinks therefore I am
    •  
      CommentAuthorlp
    • CommentTimeNov 10th 2011
    Steven wrote
    Christodoulides wrote

    Love it [War Horse]. It's old-fashioned vintage Williams at his best.


    Maybe not at his best, but close enough. Overly sentimental and very Americana... I love it too!


    I don't really hear that overt sentimentality until the last 3-4 tracks. And those were the best ones on the album too.
    •  
      CommentAuthorDemetris
    • CommentTimeNov 10th 2011
    FalkirkBairn wrote
    Christodoulides wrote
    FalkirkBairn wrote
    The Williams' is too Americana, the Cornish is just not interesting and the Bource is too much of the 20s (if I remember). Desplat's score has an interesting motif but it is just not that interesting.


    Have you seen the movie ? Ides of march ?

    Nope.


    Plays huge role into Understanding any, and particularly this score. It is very admirable the way he approached this movie musically.
    Love Maintitles. It's full of Wanders.
    • CommentAuthorAnthony
    • CommentTimeNov 10th 2011
    Erik Woods wrote
    Nautilus wrote
    It's old fashioned vintage williams...yes. It reminds me when Williams didn't use Woodwinds all the time that he is doing in the last decade.


    I can't recall any Williams score where Williams HASN'T used woodwinds.

    -Erik-


    War of the Worlds. It's why the action music sounds flatter than usual. Woodwinds add that sense of chaos that really make action music exciting!
  23. Christodoulides wrote
    FalkirkBairn wrote
    Christodoulides wrote
    FalkirkBairn wrote
    The Williams' is too Americana, the Cornish is just not interesting and the Bource is too much of the 20s (if I remember). Desplat's score has an interesting motif but it is just not that interesting.


    Have you seen the movie ? Ides of march ?

    Nope.


    Plays huge role into Understanding any, and particularly this score. It is very admirable the way he approached this movie musically.

    I realise that seeing a film does add to understanding why the music is the way kt is - I have been doing this for a while.

    But commenting on how the music connects (or not) as a separate listening experience is just as valid.

    As Erik mentions, listening for how a composer moulds themes into various forms can be heard just in the music and knowing a storyline and/or a character's motivation can give a broad setting for why the music is as it is - without seeing the film.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    •  
      CommentAuthorDreamTheater
    • CommentTimeNov 10th 2011 edited
    Erik Woods wrote
    DreamTheater wrote
    Southall wrote
    Poltergeist - J Goldsmith

    Excellent!


    Now THIS is what horror music should sound like. Chills to the max, and melodies to die for.


    But then again you can get some incredibly effective horror scores WITHOUT any melody whatsoever! It depends what the film called for. Altered States isn't a horror film per se but it's scary as f__k without any hint of melody at all.

    -Erik-


    Well ok, but I won't waste my time with so called music that is used solely for shocks and to enhance the ambience in a horror flick. I'll let it stay in the film, when I listen to something outside of the film it needs to hook me regardless of its effect in the film, As I've stated before, I need a certain kind of melodic structure, or something in the overall musical design that makes me sit up and notice. If its all ambience, than I won't waste my time with it. There's only so many hours in the day.

    An example: War of the Worlds, a score I will never appreciate outside the film, and I will never listen to it, but its effect in the film is absolutely chilling! But that's where my appreciation for it stops.
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
    •  
      CommentAuthorMartijn
    • CommentTimeNov 10th 2011
    It's a discussion I very often have (wonder why? It's always the same thing!) with a friend of mine who's a film/TV editor.
    His idea of a good soundtrack is how well it works supporting the mood and images of the film.
    To me it's solely how listenable it is.

    The best of both worlds is a combination of the two (Poltergeist to my mind is an excellent example. He'd disagree as he's more into an "audio texture" approach. Or a lightweight, nigh-unnoticeable approach. Rolfe Kent is his favourite composer.).
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
  26. "How well it works supporting mood and images" sounds like he would like Cliff Martinez? I've heard several of his scores (outside the films) and I find them good sleep-inducing pieces.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    •  
      CommentAuthorMartijn
    • CommentTimeNov 10th 2011 edited
    He does. smile

    Incidentally, for a major departure in style I'd really recommend Martinez' Sahara. Excellent, powerful score!

    EDIT: Poop. That was Clint Mansell.
    Ignore.
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorplindboe
    • CommentTimeNov 10th 2011
    FalkirkBairn wrote
    http://www.amazon.co.uk/Greatest-Video- … p;sr=301-1


    Angry birds main theme! Pure win! biggrin

    Peter punk
    • CommentAuthorTimmer
    • CommentTimeNov 10th 2011
    Spielberg describes Jerry's score as having moments of 'cathedral like beauty'. As a "scary" score, POLTERGEIST is very low down on my personal list of scary scores, Jerry himself has done scarier as well as composers such as John Williams ( just listen to parts of CEOT3K ), Horner, Young, Schifrin etc....

    .....

    ....

    ...

    I was going to make a point but I've forgotten it... dizzy slant
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorTimmer
    • CommentTimeNov 10th 2011
    plindboe wrote
    FalkirkBairn wrote
    http://www.amazon.co.uk/Greatest-Video- … p;sr=301-1


    Angry birds main theme! Pure win! biggrin

    Peter punk


    It's pretty darn cute! cool
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt

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