Favorite Scores, Film Composers, Soundtracks...

Sigur Ros is the greatest living band. Discuss.

Who is your Favorite Film Composer?

Bernard Herrmann
1
3%
John Williams
10
32%
Ennio Morricone
12
39%
Jerry Goldsmith
2
6%
Lalo Schifrin
0
No votes
Danny Elfman
2
6%
Vangelis
2
6%
Elmer Bernstein
0
No votes
Quincy Jones
0
No votes
Harry Manfredini
0
No votes
John Carpenter
0
No votes
Basil Poledouris
1
3%
Akira Ifukube
0
No votes
Pino Donaggio
0
No votes
Giorgio Moroder
0
No votes
Angelo Badalamenti
1
3%
 
Total votes : 31

Postby MonkeyM666 on Wed May 09, 2007 12:26 pm

Lady Sheridan wrote:The DaVinci Code had some really interesting choral pieces though, Kyrie for the Magdalene was quite good. Much better than the movie deserved!


That's true, the score was better then the film... it was just predictable. I mean they could have been a little bit inventive other then the whole choir mythic thing. Maybe I’m asking to much, or I was completely jaded by Ron. Actually…. I was jaded…. Very jaded…. Stupid Richie… you were flying high with Arrested Development…. If he gets Angels & Demons I’ll be pissed . That’s a much better book…
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Postby The Vicar on Wed May 09, 2007 1:29 pm

Don't be bitter, amigo.
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Quentin Tarantino

Postby Maui on Sat May 12, 2007 12:11 am

I always thought Tarantino picks some great, new, interesting stuff for his flicks: Resevoir Dogs, Kill Bill 1 and 2.

Orchestral soundtracks are very powerful & memorable, like Platoon, Out of Africa, The English Patient.

My 2 cents.

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Postby MonkeyM666 on Sat May 12, 2007 4:33 am

The Vicar wrote:Don't be bitter, amigo.


But I am Vic...


I can't help it...

Even thouhg the book was just alright I still don't understand how it can be so easily buggered. The damn thing is written like a movie!

Let our savour, Michael Bay, direct ir... he can do anything.... :wink:
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Postby LaDracul on Wed May 23, 2007 11:50 am

Would you consider the soundtrack to "Xanadu" a score? I guess I'm biased because I'm an ELO fan...
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Postby thebostonlocksmith on Wed May 23, 2007 11:53 am

LaDracul wrote:Would you consider the soundtrack to "Xanadu" a score? I guess I'm biased because I'm an ELO fan...


I think there may be a little confusion here... I think it says 'BEST score' at the top... i hope that clarifys things...

... I'm only kidding... :wink:
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Postby havocSchultz on Wed May 23, 2007 11:59 am

thebostonlocksmith wrote:
LaDracul wrote:Would you consider the soundtrack to "Xanadu" a score? I guess I'm biased because I'm an ELO fan...


I think there may be a little confusion here... I think it says 'BEST score' at the top... i hope that clarifys things...

... I'm only kidding... :wink:


Xanadon't!!!
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Postby The Vicar on Wed May 23, 2007 1:20 pm

Xanadouche?
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Re: Favorite Scores, Film Composers, Soundtracks...

Postby TheButcher on Sat Jun 04, 2011 11:19 pm

From Variety:
Busy composer tunes tentpoles - Giacchino keeps scores of musicians employed
Jon Burlingame wrote:It's a Thursday morning at the Newman Scoring Stage on the Fox lot. Steven Spielberg has stopped by to listen to a 104-piece orchestra play Michael Giacchino's score for "Super 8," the J.J. Abrams thriller he's exec producing.

He stands with Giacchino and Abrams behind the massive console where veteran mixer Danny Wallin is monitoring levels and, after hearing two emotion-filled cues, pronounces Giacchino's score "your best since 'Ratatouille' " -- one of three Pixar films the composer has done, although not the one for which he won an Oscar ("Up").

Spielberg exits the booth to share the good news with the musicians. "The great thing about Michael and J.J. is, they believe in orchestras," he tells them. "Thanks to this new generation, you're all going to be employed for many years to come." Wild applause, naturally, follows.

The "Super 8" sessions marked the second time in a month that a roomful of Hollywood musicians was performing a Giacchino score. Just three weeks earlier, over at the Warner Bros. Eastwood stage, 88 musicians were playing very different music for "Cars 2," Giacchino's other big summer movie (his fourth for Pixar).

As on "Super 8," there was nary a synthesizer in sight. The score can best be described as "surf guitar meets orchestra," with Fender Telecasters and Hammond B3 organs prominently featured throughout the soundtrack of the animated pic. Or, as Giacchino puts it, "real people playing real stuff."

The composer is among a handful who prefer to score movies the old-fashioned way -- with an orchestra, whether the style is symphonic (as in "Star Trek"), jazzy ("Ratatouille") or both ("The Incredibles").

Along with top American composers like John Williams and prominent Europeans Alexandre Desplat ("The Tree of Life") and Dario Marianelli ("Atonement"), Giacchino believes that trained musicians performing on time-honored instruments are still the most effective way to elicit an emotional response from moviegoers.

And he tends to work with filmmakers who agree with him. Abrams, writer and director of "Super 8," discovered Giacchino in the late 1990s when he was scoring videogames like "Medal of Honor." Their work on TV's "Alias" and "Lost" led to collaborations on "Mission: Impossible III" and the rebooted "Star Trek."

Abrams, who plays keyboards himself and who owns a collection of vintage synthesizers, puts it this way: "Nothing can grab you by the throat, or heart, or soul, like an orchestra. It's undeniably the most engaging and exciting way to bring a score to life."

Pixar boss John Lasseter, director of "Cars 2," seemed to be having the time of his life at the scoring session. Variety managed to corner him after he had his picture taken donning cool '60s-era sunglasses and pretending to play the organ.

"These recording sessions are some of the most fun things I do on a movie," he says. "I am in absolute awe of the talent of these musicians, (who) have never seen this music before and yet they play it perfectly, with feeling and interpretation. They're not just reading notes."

Lasseter goes back into the booth and happily points to various directions Giacchino has written into the score to help get the musicians into the right mood: "kick-ass total '60s TV show action"; "sad and post-apocalyptic feel"; "sneaking bad guys."

As much fun as it is for the filmmakers, it's still precise and pressure-filled work for the composer and the orchestra. Seventy-two minutes of music for "Cars 2," another 82 for "Super 8," all written since the end of January for two highly anticipated summer releases ("Super 8" is due out June 10, "Cars 2" June 24).

Two more big assignments await Giacchino this year: "Mission: Impossible IV," produced by Abrams and directed by his "Ratatouille" colleague Brad Bird; and "John Carter of Mars," the sci-fi epic being directed by another Pixar colleague, Andrew Stanton, slated for next year but which Giacchino will begin before the end of 2011.

But having Spielberg show up at the scoring session for "Super 8" was a "wow" moment for the composer.

"He was our first teacher," Giacchino says. "We grew up at a time when he was making these films and John Williams was scoring the hell out of them. That's what I want to continue, that great tradition of filmmaking."
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Re: Favorite Scores, Film Composers, Soundtracks...

Postby TheButcher on Tue Jun 14, 2011 7:58 pm

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Re: Favorite Scores, Film Composers, Soundtracks...

Postby Leckomaniac on Wed Jul 06, 2011 4:22 pm

I have to say that I adore the Clint Mansell THE FOUNTAIN score. I find myself listening to it all the time.
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Re: Favorite Scores, Film Composers, Soundtracks...

Postby TheButcher on Fri Sep 02, 2011 12:25 pm

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Re: Favorite Scores, Film Composers, Soundtracks...

Postby TheButcher on Tue Jun 19, 2012 10:22 pm

From BC:
One U-Turn Later, Hans Zimmer Latest Batman Alum To Join Man Of Steel
Brendon Connelly wrote:Hans Zimmer once made it totally clear that he wouldn’t be scoring Zack Snyder‘s Man of Steel. He said:
John Williams, the greatest living composer – full stop. And that happens to be one of his greatest themes. So no. And I’m not thinking of rewriting Beethoven’s ninth either. It just sounds like a thankless task, you know? So that’s unequivocally a no.


But now, Variety are reporting that, in something of a u-turn, Zimmer has now signed on to the project. It will be the first of Zack Snyder’s pictures to not be scored by Tyler Bates. It will be the fourth superhero film to be produced by Chris Nolan to be scored by Zimmer. Who’s holding the reins tightest here, I wonder?

I guess the news may be coming out in the open now as tracks are being laid down for the scenes we’ll see at Comic-Con? Or perhaps the timing is just a coincidence.

Snyder intends for his Superman film to completely ignore the cinematic legacy of the character, and start all over. I think it’s a healthy response to some thirty years in the same groove. Perhaps this rip-it-up-and-start-again ethos was part of the appeal for Zimmer. Perhaps he saw some footage and fell in love?

Here’s Zimmer’s thoughts on reinventing the hero theme wheel, from an old NBC interview:
You are allowed to reinvent, but you have to try to be as good or at least as iconic and it has to resonate and it has to become a part of the zeitgeist. That’s the job. On ‘Gladiator‘ I remember people always talking about ‘Spartacus‘ and I kept telling them, ‘When you saw “Spartacus” and how it affected it you, that’s how I want a modern audience to be affected by what we do now.’ So I think ultimately you’re supposed to reinvent.


So I don’t think we should go into Man of Steel expecting the old Dah-Dahdah-Dee-Dah. How about a bit of Braaaaaaaaaaaaaam instead?
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Re: Favorite Scores, Film Composers, Soundtracks...

Postby The Vicar on Tue Jun 19, 2012 11:14 pm

Leckomaniac wrote:I have to say that I adore the Clint Mansell THE FOUNTAIN score. I find myself listening to it all the time.


It's a great score, it really is. Good stuff.
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Re: Favorite Scores, Film Composers, Soundtracks...

Postby Al Shut on Wed Jun 20, 2012 5:15 am

And while I see this thread bumped I'm listening to the Nausicaa soundtrack.

Hisaishi really did some outstanding work for Miyazaki.
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Re: Favorite Scores, Film Composers, Soundtracks...

Postby TheButcher on Thu Nov 29, 2012 10:48 am

Complete 'Star Trek' music set warps in
Fifteen-CD collection contains every note from original series
Jon Burlingame wrote:By now, 46 years after the original series' September 1966 debut, one might imagine that every conceivable aspect of "Star Trek" lore and memorabilia has been mined and merchandised.

Not quite. Next week, Burbank-based film-music label La-La Land Records will release a 15-CD boxed set of music from the original "Star Trek" series: every note that was written and recorded for the sci-fi drama, more than 17 hours of music in all and retailing for $225.

Although music for the daytime soap "Dark Shadows" got a similarly deluxe treatment in 2004, this is perhaps the first time that the score for a classic, primetime network series has received such a lavish (and complete) presentation.

"This is a rare case where the collectors' market is big enough that it could finance a proper restoration," says album producer Lukas Kendall, who oversaw the project and brought several parties to the table including CBS, which controls all things "Star Trek," and GNP Crescendo, the label that had previously released several "Trek" albums.

"I think I speak for a lot of 'Star Trek' fans and film-music fans when I say we just wanted to hear every note of music," Kendall adds.

Once the deal was struck, GNP Crescendo relinquished control of the original "Trek" tapes -- mostly on quarter-inch tape, some dating back to 1965 -- and digital transfers began.

Kendall, meanwhile, consulted all the handwritten original scores by composers including Alexander Courage (who penned the familiar fanfare and theme), Fred Steiner ("Perry Mason"), Sol Kaplan ("The Spy Who Came in From the Cold"), George Duning ("Picnic") and Gerald Fried ("Roots").

Luckily, CBS retained extensive paperwork from original producing studios Desilu and Paramount, notes fellow producer and "Trek" aficionado Neil S. Bulk, who waded through all of the many recording sessions to assemble the various scores in proper order.

And, Bulk adds, the music survives in remarkably good sound. "You're hearing detail you've never heard before. Better clarity, better dynamics. The difference (from earlier LPs and CDs) is stunning."

Also consulting throughout the four-month editing and assembly process was Jeff Bond, author of the book "The Music of 'Star Trek,'" who penned the extensive notes that accompany the set.

It's a very different style of scoring than exists today, Bond says. "Music had to give a sense that you were really out in space on this giant ship with these heroic characters. The music played an integral part in convincing the audience that all this was happening." It was all done with orchestras averaging just 25 players.

And, because only 34 of the 79 episodes sported original scores and the remainder were "tracked" with music from earlier episodes, the repetition meant that fans were especially aware of the music. "More than any other show," says Bond, "this music not only recalls specific moments or action, it recalls even lines of dialogue, it's so ingrained in our subconscious. You re-experience the show by listening to this music."

La-La Land will unveil the new box Monday at 7:30 p.m. at the Egyptian Theater in Hollywood. Bond will moderate a discussion with "Star Trek" writer David Gerrold ("The Trouble With Tribbles") and composer Fried. Classic episodes "Amok Time" and "Mirror, Mirror" will be screened.

Fried, 84, is the only survivor among the original "Trek" composers and still plays oboe. At the event, he will perform a suite for oboe and piano based on eight themes he wrote for the series.

Fried's Vulcan combat music from "Amok Time" is often parodied on shows like "Futurama." Asked about his "Trek" fame, he says from his home in Santa Fe: "I love it. Andy Warhol said 15 minutes of fame is a good deal, and here I'm getting worldwide attention. What's to complain?"
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Re: CONAN THE BARBARIAN

Postby TheButcher on Fri Nov 30, 2012 8:49 pm

From Intrada:
CONAN THE BARBARIAN (3CD)
Label: Intrada MAF 7123
Date: 1982
Tracks: 53
Time = 187:17

At last! Complete soundtrack by Basil Poledouris to John Milius epic with Arnold Schwarzenegger as Conan, James Earl Jones as Thulsa Doom, Sandahl Bergman as Valeria. Legendary music needs little introduction but long journey to 3-CD set warrants spotlight.

Thought missing for decades, even by composer, Universal vaults reveal recently discovered 2" 24-track & 1/2" 3-track stereo session masters in mint condition for entire project, right down to rehearsal takes! (Assorted extra tracks on earlier Varese Sarabande release were made from composer's own incomplete 1/4" two-track copy.)

Having complete multi-track session elements allows Intrada to newly mix and master everything, finding cool extras in the process! All of them are here! Poledouris originally scores main title with high trumpets joining horns on primary theme plus dynamic horn counter-melody playing in mid-section. Only one raw take is made before re-writes on podium create familiar final version.

Other previously unreleased cues include rich version of "The Awakening" with lengthy never-before-heard woodwind bridge section dropped from final film version plus haunting early versions of "Orphans Of Doom", one scored for orchestra plus solo mezzo-soprano, one scored for chorus with harp alone. Three versions of opening prologue, alternate version of "Battle Of The Mounds Part II" add more fun! Original Poledouris music for snake sequence, savage "Pit Fights" are more highlights. Poledouris didn't write music for kitchen battle sequence as scene was scored editorially from other cues. For Conan purists, we have recreated entire sequence (including awkward edits) for this segment as well as for closing "End Credits", also created editorially in picture itself.

Many of composer's unique percussion sequences were created through experimentation right at sessions, including size and pitch of tunable drums, volume of tam tams, density of rhythmic figures, so forth. It's all here! Poledouris was fond of his own 48-minute distillation of highlights from massive score so we have licensed that original 1982 MCA album from UMG as well, newly mastered from original album tapes.

Two final extras: opening prologue with Mako narration plus actual mono tape master for film version of snake sequence preferred by director Milius. Fascinating, personalized notes by Nick Redman plus musical coverage by Douglass Fake give listener something to read, exciting graphic design by Joe Sikoryak featuring Schwarzenegger and other cast give listener something to look at. Primal intensity and crisp, vibrant details of original performances are without equal. Basil Poledouris conducts. MAF series 3-disc release!
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Re: Favorite Scores, Film Composers, Soundtracks...

Postby TheButcher on Sun Dec 02, 2012 12:38 pm

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Re: Favorite Scores, Film Composers, Soundtracks...

Postby Al Shut on Sat Dec 08, 2012 1:18 pm

Al Shut wrote:And while I see this thread bumped I'm listening to the Nausicaa soundtrack.

Hisaishi really did some outstanding work for Miyazaki.



Doubled after watching Ponyo
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Re: Favorite Scores, Film Composers, Soundtracks...

Postby TheButcher on Sun Dec 16, 2012 7:26 pm

Inside Tom Cruise's 'Oblivion' Trailer - Director Joseph Kosinski speaks exclusively with MTV News about his sci-fi feature.
Amy Wilkinson wrote:On The Score
"The composer is Anthony Gonzales, also known as M83, who's working in conjunction with Joe Trapanese, who was my orchestrator on 'Tron' and worked with Daft Punk. We've done a score for this film that I am as excited about as I was for the 'Tron: Legacy' score. It's just spectacular, I'm really psyched. And we will be recording that in January.".
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Re: Favorite Scores, Film Composers, Soundtracks...

Postby SilentBobX on Mon Dec 17, 2012 6:08 am

Just got Howard Shore's soundtrack to the Hobbit, and it is wonderful. I can just listen to this all the way through, a cup of coffee in hand, watching clouds roll by, and be at peace(until the more upbeat tempo music comes on).



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Re: Favorite Scores, Film Composers, Soundtracks...

Postby TheButcher on Mon Dec 17, 2012 10:22 pm

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Re: Favorite Scores, Film Composers, Soundtracks...

Postby TheButcher on Sun Jan 06, 2013 6:29 am

'Looper': A World Of Musical Clicks And Pops
When you think about the great music of science fiction, a few staples spring to mind — say, the theme from the classic Star Trek series, or John Williams' compositions for the Star Wars movies.

Nathan Johnson, the composer for the new time-travel thriller Looper, wanted to break with tradition. Instead of going for that slick, orchestral sound, he immersed himself in the world of the film to find his source material.

"I actually moved down to New Orleans, where they were shooting the movie," says Johnson, "and just spent a month wandering around the city, walking around the sets, gathering anything that struck my ear."

That could include the sound of fingers drumming on railings, or the beep and hum of a microwave oven. Johnson gathered his sounds in the field, then used software to turn them into playable instruments. He says one fun challenge of the process was thinking of all the sounds a given object could produce.

"One afternoon I brought Noah Segan, the actor who plays Kid Blue, into the studio," Johnson says. "We recorded all the sounds of his gat gun from the movie — so not just the firing of the gun, but the actual cocking mechanism, the way the barrel spun around, all these little clicks and pops."

Johnson says he wanted the film's score to feel like an organic and inextricable part of its world.

"I'm really drawn to imperfection in music," he says. "So I took the same approach when I was gathering these sounds, rather than using a library where everything has been sampled perfectly and recorded in the studio. Part of it was just to get our own stamp on it so that the world of Looper, auditorily, felt really unique."
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Re: Favorite Scores, Film Composers, Soundtracks...

Postby TheButcher on Fri Jan 18, 2013 1:55 pm

Michael Giacchino’s Snarky Scifi Soundtracks
Alison "Boom" Baumgartner wrote:Michael Giacchino is not a name that is typically in the minds of science fiction fans, and this is despite his almost career-long partnership with JJ Abrams. Still, I don’t bring him up today because of his record of writing music for both Disney and Pixar (including The Incredibles), the fact that he composed the soundtrack for five Medal of Honor series, or because he just recently agreed to compose the music for Star Trek Into Darkness.

No. This article is not about fangasming over his amazing compositions, but rather his brilliant song titles, which sort of run like a MST3K commentary to the movies and TV series he sets music to.

For example, for the scene in Lost (some first series spoilers ahead) where there is a plane crash, and everyone is running around desperately trying to save one another, one would think there would a suitably dramatic name for the music, like “Survival” or something. For Giacchino, it’s simply the “World’s Worst Beach Party”, and let’s face it, he’s pretty much spot on right there.

Though, this tends to be a running gag for most of his songs throughout his career. He picks an odd element to the scene, and then declares it “World’s Worst”. In Mission Impossible III, it’s “World’s Worst Valet”, and “World’s Worst Field Trip” in Super 8.

An even snarkier song is just a few tracks down, entitled “Just Die Already”, which is a slow and emotionally moving piece that is played when the marshal dies. For those who haven’t seen the show, it’s important to note it takes about three episodes for him to kick it. The song title is probably echoing a comment Shannon made during this about how she wished he would just “die already”, but it’s still so deliciously ironic I had to bring it up. The song, by the way, is only two minutes long. How impatient is that?

Honestly, I could write forty pages about song titles in all six seasons of Lost, so I’m going to try and keep this short. “Hollywood and Vines” is the famous hiking song that is used anytime people are journeying through the jungle and aren’t being molested. For those molested times, “Run like, um… hell?” is typically used (I assume this is a Pink Floyd reference, seeing as Giacchino has referenced other Pink Floyd songs in his works). The song “Booneral” is played during Boone’s funeral, and when Shanon gets into some shenanigans, the song is aptly titled “Shannonigans”. His word play, and comments on what’s happening in the show via his song titles is almost meta, and I love it.

But let’s move on to some of his other works, and focus on the Star Trek reboot for a second. That emotional scene from the first fifteen minutes that made the entire audience cry when the Kelvin exploded? In a fit of decorum, I imagine, he entitled that song “Nailin’ the Kelvin”.

His other ingeniously titled tracks from the film are “Nero Fiddles, Narada Burns” and “Does It Still Mcfly?”, an obvious reference to another time traveling movie, Back to the Future.

Even John Carter (which I originally mistakenly thought was going to be a movie about John Carter from ER traveling to Mars to help orphans or something), has fantastic word play. “A Thern For the Worst” and “The Thark Side of Barsoom” are among my favorites, though I think I like “The Second Biggest Apes I’ve Seen This Month” the most.

However, not all of his song titles reflect this sense of humor. His video game OSTs, such as Medal of Honor, have fairly banal names for their tracks. It seems that the pattern emerged when he starting working JJ Abrams on Alias, where after his song titles got increasingly snarkier, and coincidentally when I started to appreciate him more as a composer (though that was a high bar to go over).

So treat Mr. Giacchino’s works as sort of special Easter Egg for the movies and shows you like, but also, enjoy his music because I guarantee you he’s going to surpass the likes of Hans Zimmer very soon, and have you smiling while he does it.
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Re: Favorite Scores, Film Composers, Soundtracks...

Postby Al Shut on Sun Jan 20, 2013 12:15 pm

Speaking of favorite scores



I also have to think of this everytime I watch Lord of the Rings and a bunch of Orcs are running through the countryside.
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Re: Favorite Scores, Film Composers, Soundtracks...

Postby Nachokoolaid on Thu Jan 24, 2013 12:40 am

Howard Shore's LORD OF THE RINGS stuff is my fave, hands down.
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Re: Favorite Scores, Film Composers, Soundtracks...

Postby TheButcher on Fri Apr 05, 2013 5:50 pm

'Man of Steel': Not the familiar Superman (fan)fare
Jennifer Vineyard wrote:(CNN) -- The secrecy surrounding "Man of Steel," due June 14, is pretty extraordinary, but composer Hans Zimmer was able to give CNN a glimpse of what to expect when we caught up with him this week regarding the score he did for "The Bible."

Asked if the two projects had anything in common, since both involve a savior figure (Jesus, Kal-el) sent by his father to Earth, Zimmer laughed and said, "Yes. Yes is the answer. Once you see Superman, you'll see how close you are with your question."

"Both stories are passions," Zimmer continued, "about a struggle to do the right thing. For Superman, it was a really simple question for me. What does it take to become a good man? To be good? And what does that mean in our more and more complex society? Do any of these values still resonate with us?"

Zimmer said he came to this understanding about director Zack Snyder's take on Superman (which reboots the series, instead of coming in at a later point a la "Superman Returns") because he was questioning how he would score the film and not remind audiences of John Williams' iconic fanfare theme. "Look, that was daunting," Zimmer confessed. "Seriously. He's the greatest film composer out there, without a doubt, and it happens to be one of his iconic pieces of music, so I spent three months just procrastinating and not even getting a start on the thing, because I was so intimidated: 'Oh my God, I'm following in John Williams' footsteps.'"

His way around this, he said, was to look at the Superman story in a "very different way." "I kept thinking of the story as, What if you are extraordinary, and your entire ambition is to join humanity? To become human? What does it mean to become human? What does it mean to be an outsider who really wants to join the human race?"

"Man of Steel," which replaces Brandon Routh with Henry Cavill, is the origin story of Superman, starting with a young Clark Kent discovering that he has extraordinary powers and is not from planet Earth. As he grows up, he learns where he came from and what he was sent to this planet to do, as he becomes a symbol of hope for humanity. The film also stars Russell Crowe as Jor-el (Kal-el's birth father on Krypton), Diane Lane and Kevin Costner as Martha and Jonathan Kent (his adoptive parents), Michael Shannon as General Zod (so expect some trouble there), Laurence Fishburne as Daily Planet editor Perry White, and Amy Adams as reporter/love interest Lois Lane. ("She's fun and sassy, in control, getting into trouble, and always looking for a headline!" Adams enthused earlier). While it remains to be confirmed, the latest rumor is that Mackenzie Gray is playing Lex Luthor, although he doesn't appear in the trailer.

Coming off three Dark Knight films directed by Christopher Nolan ("Batman Begins," "The Dark Knight," and "The Dark Knight Rises"), Zimmer also didn't want to do "another really dark" superhero movie. "Everything's tinged with irony and sarcasm and bitterness and darkness these days," he said. But this Superman is something lighter, he said, "celebrating everything that was good and fine about America," such as small towns "where people don't lock their doors, neighbors get together, and families are families."

"What was important for Superman was the simple fact that none of us pay much attention to the Midwest," Zimmer said. "I know America mainly by the big cities, but if you go into the Midwest, there is a people there and there is a country there. And I thought it was important that the decent folk, simple folk be the heart of the story, and a character who is guileless, who isn't complicated in the sort of flawed way our Dark Knight is, and isn't political in any way. He's just striving to become a better part of humanity."

This perspective on Superman, the German-born composer said, is something that he came by in part because he's a foreigner. "I think partly what we foreigners are good at is looking at America, not in a judgmental way, but wide-eyed, and seeing the things you take for granted and presenting them in a new way," he added. "Like for 'Thelma and Louise' and the Grand Canyon, most American kids wouldn't want to go there for their holiday, but to us it's a magical, magnificent place."

Sonically, this treatment of America comes across via a grouping of pedal steel guitars (instead of the usual string section), banging titanium and steel sculptures, and organizing "a who's who of drummers" in a 12-member drum circle, including Jason Bonham, Sheila E. and Pharrell Williams. "The great thing about Superman is that everybody loves Superman," Zimmer said with a laugh. "It's very easy making the call and saying, 'Hey, can you come?' I remember phoning Pharrell and him saying, 'I'm right in the middle of producing the Beyonce album in Miami.' 'Jason Bonham's in Miami, and he's getting on a plane!' Next morning, there's Pharrell, looking a little bleary-eyed."

As a producer on "Man of Steel," Nolan, who also collaborated on the story, initially acted as a sounding board for some of Zimmer's ideas ("getting rid of my demons," as he put it) but soon stepped aside so he wouldn't be "a mistress in the mix" between Zimmer and director Zack Snyder, especially since Zimmer's involvement in the whole project stemmed from a misunderstanding in the first place.

"A journalist asked me (at an 'Inception' party) if I was going to do Superman, and I hadn't even heard of it, so I went, 'Absolutely no way,'" Zimmer said. "Somehow in the noise of that party, that got misconstrued as 'Absolutely Hans is doing it.' It was all over the Internet that I was doing Superman, and I'd never even met Zack! So I phoned him up, 'I'm really sorry, this wasn't my doing, this is a misunderstanding.' And he said, 'Oh! It's great that you phoned. Maybe we should meet and talk.'"

So they did, and Nolan urged Zimmer to sign up. "I remember him going, 'Of course you can do it. What's the big deal? I did Batman.' And I said, 'Excuse me, you went to Warner Bros. with an idea of how you were going to do Batman, and you're saying I'm supposed to do Superman, but I don't have the idea in my head.' I have to sneak up on it!" And with Snyder, now he has.
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Re: Favorite Scores, Film Composers, Soundtracks...

Postby TheButcher on Wed Apr 17, 2013 8:43 pm

The Changing Soundscape of Superhero Movies
With the Man of Steel, Iron Man and Wolverine waiting in the wings, composers stray from tradition while maintaining the genre’s spirit
Jon Burlingame wrote:You’ve known them for years, maybe all your life: the great comicbook movie and TV themes. John Williams’ soaring brass flourishes for Superman, Danny Elfman’s brooding Gothic fanfare for “Batman,” even the silly Spider-Man title song from the TV series that was so catchy it wound up in the first three Spidey movies.

Once upon a time, superhero movies demanded big orchestras and heroic musical signatures. The concept dates back to the Max Fleischer “Superman” cartoons of the 1940s, carried on in the “Adventures of Superman” series of the ’50s.

But in the 21st century, do big-budget comicbook movies still require the same treatment? More to the point, do audiences demand it? Is it a risky strategy to depart from the decades-old musical traditions of DC and Marvel heroes?

“The risk is to do the same thing again,” says Hans Zimmer, composer of “Man of Steel,” one of three superhero movies in the pipeline for spring and summer. “You take far less risk by trying something new. You still stay in the confines of certain storytelling: Yes, heroic things happen. Yes, you have to find a human element and a sense of awe. Yes, you’re gonna have a bad guy. In that respect, you know what to write.”

Zimmer had already been down the comicbook road with three “Batman” movies, but those required a dark, minimalist musical style that reflected the complex psychology of the “Dark Knight” and the villains (Joker, Two-Face, Bane) he battled. This one — a reboot of the venerable Superman franchise, directed by Zack Snyder of “300″ and “Watchmen” fame — was different.

“If Batman is the way the world sees America, Superman is the way America sees itself,” Zimmer says. The score, he thought, should “celebrate everything that is good about America,” and he began to focus on the heartland where Clark Kent grew up, searching for a sound palette that might be the basis for a fresh approach.

He came up with eight pedal-steel guitar players and a 12-person drum circle. “I wanted to create a tone that wasn’t necessarily what you expected,” says Zimmer in what may be the understatement of the year. “I was lacking notes, but I wasn’t lacking ideas about the sonic landscape.”

As usual with Zimmer, conceiving that “sonic landscape” was only the foundation. Musical experiments, sampling, and layering the various sections of the orchestra followed, all of it recorded in L.A. (“If you want to write about America, it’s only fair that you record it here”) He even had a bass pedal-steel guitar designed and built for the sessions.

There’s no real country twang in the music — at least in the excerpts previewed for Variety — but Zimmer believes he’s found an authentic American sound that’s far from Aaron Copland yet will still resonate with the mythology of the Midwestern Smallville.

Brian Tyler, on the other hand, went a more traditional route for “Iron Man 3.” The composer of “Fast and Furious” and “The Expendables” is the third maestro to tackle the “Iron Man” series. Early discussions with producer Kevin Feige and director Shane Black resulted in a plan, Tyler says, “to do something that is classic, along the lines of “Superman” or “Star Wars,” a theme that’s really singable but is done orchestrally with a lot of brass.”

Earlier “Iron Man” scores added electric guitar to suggest the brashness of Tony Stark, but “he’s now come into his own. He has a lot on his shoulders, especially after The Avengers; there is a heroism in him. But he also has this personality, like a little boy; he’s a wisecracker. It was a tall order,” Tyler says.

And, because all agreed that “really identifiable leitmotifs for characters” were necessary, there are secondary themes for villains Mandarin and Killian and even choir (with different tones depending on whether the scenes involve heroes or villains). “There’s a modern edge to the vibe,” Tyler adds, “but at its heart is a classic sound.”

To recapture the score’s bright, bold ambiance, Tyler recorded at Abbey Road with the 84-piece London Philharmonic (even tracking down the microphones that Williams used on the original “Star Wars” sessions there).

As for Marco Beltrami, who is just starting to write music for “The Wolverine” — the fifth cinema outing for Hugh Jackman as the mysterious, long-clawed “X-Men” character — he says “there are definitely expectations, just with the nature of the project. But it’s fun to play with those expectations.”

Even though the story takes place in Japan, “musically, it’s not going to be overtly Japanese because it could easily fall into cliche,” Beltrami says. He does plan on using traditional Japanese instruments (including the koto and massive taiko drums) but “in a non-traditional way,” he adds.

Director James Mangold (with whom Beltrami worked on “3:10 to Yuma,” which earned the composer his first Oscar nomination) “has made a real original movie here, so there is room for a less traditional score, less of a cookie-cutter musical orientation.” He will record in L.A. at the end of May.

“It’s a tricky business,” admits Paul Broucek, president of music for Warner Bros., which will release “Man of Steel” June 14. “You have to cleverly reinvent the genre. You have to give the audience enough so that it doesn’t feel that you’ve abandoned the whole thing — just done a fresh take on it. If it feels like something they expect, then they’ll trust you and allow you to take them someplace else they wouldn’t normally go.”
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Re: Favorite Scores, Film Composers, Soundtracks...

Postby TheButcher on Fri May 10, 2013 4:59 am

EMPIRE:
The 20 Soundtracks That Defined The 1970s
The sounds of mods, galaxies far, far away, Satanic children, zombies and a certain shark...

Harold Faltermeyer On The Making Of The Beverly Hills Cop Soundtrack
On creating Axel Foley's theme

Danny Elfman On The Making Of Batman
The legendary composer on how the iconic movie score came about

The 20 Soundtracks That Defined The 1980s
Time-travelling skateboarders, homesick aliens, fighter jets, big boulders and a little dirty dancing...
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