That actually sucks but 
but the Black Hawk Down score actually got me interested in movie scores in general.
but the Black Hawk Down score actually got me interested in movie scores in general.
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Movie score for vlatko (3 Viewers)
- Thread starter Martin
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Bah, hater.
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Ever seen Once Upon a Time in the West? It's considered one of the finest westerns ever made, a great film in its own right, and it's made by its score. Here's the final showdown. Don't watch past 4:30, or you'll spoil the ending for yourself:
Or how about the slightly more famous The Good, the Bad and the Ugly? Two scenes come to mind, both of which are very late in the film and contain
****major spoilers,****
(Mainly in the videos, but also in the text)
First, there's , in which one of the charactors finds the graveyard where the gold is buried. He runs to the middle and starts looking for the specific grave... An operatic variation of the main theme slowly picks up. It surges and swells as he continues his search. As his search becomes more frantic, the background begins to blur and spin and the vocals are replaced by a cachophany of bells. Finally, the music, and the charactor, just stop. He's found it. It's a really powerful piece of cinema, one of my favourites. This is what a great director can do - four minutes of a guy running around a graveyard becomes something urgent and captivating. Fuck you, Michael Bay.
Second is the . About two minues into that video, the showdown itself starts. The three men slowly walk to their positions. Then we get shots of fingers creeping along gun belts, extreme closeups on their faces, their eyes... And over it all, that music. It's hypnotic.
****End spoilers****
Morricone isn't perfect. Some of the little jolts and twangs in For a Few Dollars More grate on me a lot, although again the final showdown is set to incredible music. His scores for Leone are, like the films, bombastic and a little artificial, but they're great cinema.
If you don't like them, that's fine. It doesn't make it bad. And it certainly doesn't make people who like it somehow inferior to you.
EDIT: Oh, and if my life were to have a theme tune, I would hope it'd be .
Or how about the slightly more famous The Good, the Bad and the Ugly? Two scenes come to mind, both of which are very late in the film and contain
****major spoilers,****
(Mainly in the videos, but also in the text)
First, there's , in which one of the charactors finds the graveyard where the gold is buried. He runs to the middle and starts looking for the specific grave... An operatic variation of the main theme slowly picks up. It surges and swells as he continues his search. As his search becomes more frantic, the background begins to blur and spin and the vocals are replaced by a cachophany of bells. Finally, the music, and the charactor, just stop. He's found it. It's a really powerful piece of cinema, one of my favourites. This is what a great director can do - four minutes of a guy running around a graveyard becomes something urgent and captivating. Fuck you, Michael Bay.
Second is the . About two minues into that video, the showdown itself starts. The three men slowly walk to their positions. Then we get shots of fingers creeping along gun belts, extreme closeups on their faces, their eyes... And over it all, that music. It's hypnotic.
****End spoilers****
Morricone isn't perfect. Some of the little jolts and twangs in For a Few Dollars More grate on me a lot, although again the final showdown is set to incredible music. His scores for Leone are, like the films, bombastic and a little artificial, but they're great cinema.
If you don't like them, that's fine. It doesn't make it bad. And it certainly doesn't make people who like it somehow inferior to you.
EDIT: Oh, and if my life were to have a theme tune, I would hope it'd be .
This theme is fantastic, I agree. But that's because it's melodic, almost orchestral. A lot of movie score that I've heard people get excited about is totally different, like an abstract art painting, when you twist your head this way and that trying to figure out whether you see something or not.
Much like the music in a rap song, to me a score has to be able to stand on its own to be worthwhile. Something I would listen to without the movie. (Which explains why most rap is hopeless.)
That movie bored the crap out of me, no offense.
Again, I like it.
I like the trumpet voice, the rest not as much.
The thing these clips have in common is that they're.. glacial. They're like arias in an opera, where the guy spend half an hour reciting a poem about his distress. Which is fine, I suppose, long reflections on our life is part of what we do. But it doesn't make for the most exciting entertainment. Imagine these scenes without the music. They would be unbearable, unwatchable. To me, at any rate.
My favorite score is that which adds urgency to the action. You take an action scene which is already fast paced, full of stress, and you make it even more intense. But that absolutely does not fit into the kind of movie you're demoing here, so I don't think our conceptions of great score is much alike.
:sob:
Bay presided over two movies that are among my absolute favorites score wise.
Much like the music in a rap song, to me a score has to be able to stand on its own to be worthwhile. Something I would listen to without the movie. (Which explains why most rap is hopeless.)
That movie bored the crap out of me, no offense.
Again, I like it.
I like the trumpet voice, the rest not as much.
The thing these clips have in common is that they're.. glacial. They're like arias in an opera, where the guy spend half an hour reciting a poem about his distress. Which is fine, I suppose, long reflections on our life is part of what we do. But it doesn't make for the most exciting entertainment. Imagine these scenes without the music. They would be unbearable, unwatchable. To me, at any rate.
My favorite score is that which adds urgency to the action. You take an action scene which is already fast paced, full of stress, and you make it even more intense. But that absolutely does not fit into the kind of movie you're demoing here, so I don't think our conceptions of great score is much alike.
:sob:
Bay presided over two movies that are among my absolute favorites score wise.
Yeah, I get what you mean, and I agree. There's a lot of very forgettable stuff like that out there.
I don't know that I agree. A great score should be great in the context of the movie. If it stands up on its own, that's fine. I liked the score in The Dark Knight. I think it added atmosphere very well. I have it at home actually, but it's not good music on its own. It's interesting for me to listen to it and think about how it was used in the film, but just to play in the background? No thanks.
None taken. We all have different tastes, and that film is very long, frequently slow and fairly stylised.
Leone is often compared to opera actually. Those scenes work for me partly because I watch them after spending two and a half hours building up to them - there's some emotional investment in the story, but mainly because of the score and the cinematography, which ratchet the tension to a climax. The final showdown in The Good, the Bad and the Ugly consists mainly of shots of the three men straining at the leash, aching to pull the gun and shoot. It's all about the tension. The music adds to that enormously. That's what it's for. Otherwise, why play music over a film at all?
I saw an interview with George Lucas once where he debunked the myth that Star Wars was shown to the studio without the soundtrack in place and they hated it, but changed their minds when they saw it with that John Williams score. I can believe it. Picture that film in your head. How much does that huge orchestral theme make the film? How much of Darth Vader's menace is in the Imperial March?
Speaking of Williams, how crap would Jaws have been if not for that memorable two-note theme building tension everywhere?
I think that sort of score can be great too, though a lot of it is relatively simple - a heavy base in something which builds seemingly neverendingly using techniques which have been familiar since at least Bach's time. (Interestingly, The Beetles dabbled in them too: check out Eleanor Rigby.)
Don't confuse the scores and the directors (says he after a lengthy diatribe on Leone - it's different, honest). Bay is a hack action director - this probably summarises what I dislike about him. That doesn't mean I don't like those scores. I do like Zimmer - in particular I adore Gladiator, not least for its score. Now We Are Free is wonderful - it releases all of the tension at the end of the film and makes me tear up - victorious and mournful at the same time.
Actually, mentioning a Ridley Scott film reminds me of a related topic. Maybe this will be worth splitting off into its own thread. Does anyone have a film they adore which has a soundtrack they hate? For me, that's Blade Runner. The soundtrack does nothing for me.
I don't know that I agree. A great score should be great in the context of the movie. If it stands up on its own, that's fine. I liked the score in The Dark Knight. I think it added atmosphere very well. I have it at home actually, but it's not good music on its own. It's interesting for me to listen to it and think about how it was used in the film, but just to play in the background? No thanks.
None taken. We all have different tastes, and that film is very long, frequently slow and fairly stylised.
Leone is often compared to opera actually. Those scenes work for me partly because I watch them after spending two and a half hours building up to them - there's some emotional investment in the story, but mainly because of the score and the cinematography, which ratchet the tension to a climax. The final showdown in The Good, the Bad and the Ugly consists mainly of shots of the three men straining at the leash, aching to pull the gun and shoot. It's all about the tension. The music adds to that enormously. That's what it's for. Otherwise, why play music over a film at all?
I saw an interview with George Lucas once where he debunked the myth that Star Wars was shown to the studio without the soundtrack in place and they hated it, but changed their minds when they saw it with that John Williams score. I can believe it. Picture that film in your head. How much does that huge orchestral theme make the film? How much of Darth Vader's menace is in the Imperial March?
Speaking of Williams, how crap would Jaws have been if not for that memorable two-note theme building tension everywhere?
I think that sort of score can be great too, though a lot of it is relatively simple - a heavy base in something which builds seemingly neverendingly using techniques which have been familiar since at least Bach's time. (Interestingly, The Beetles dabbled in them too: check out Eleanor Rigby.)
Don't confuse the scores and the directors (says he after a lengthy diatribe on Leone - it's different, honest). Bay is a hack action director - this probably summarises what I dislike about him. That doesn't mean I don't like those scores. I do like Zimmer - in particular I adore Gladiator, not least for its score. Now We Are Free is wonderful - it releases all of the tension at the end of the film and makes me tear up - victorious and mournful at the same time.
Actually, mentioning a Ridley Scott film reminds me of a related topic. Maybe this will be worth splitting off into its own thread. Does anyone have a film they adore which has a soundtrack they hate? For me, that's Blade Runner. The soundtrack does nothing for me.
There is that, and a lot of starts and stops in some score. For instance Batman Begins was terrible on its own, but great in the movie. It infuriates me when they publish the score and actually omit some of the best parts of it, jeez.
I guess you have to like opera then. The school of cinema that I'm used to is a lot faster. And I think that reflects life better too, if you had an real world gun duel would they spend 10 minutes looking at each other first?
I'm not surprised at all by this. The score shapes a movie in a big way, something that you can't quite appreciate even when you're listening for it specifically. And yet a lot of people come out of a movie and say "the music? I never paid attention to it". But they did love the movie, they just don't realize how the score helped make that happen.
Never saw it, so.
True, and it's almost hard to understand have something so simple could have such a big effect.
I think that's rather exaggerated. It is what a lot of action movies are, but I don't think Bay is such a worst offender here. The movies I mentioned are Bad Boys and The Rock, both of which I loved.
I found Blade Runner very dull. But in general I don't think that's possible, bad score would kill the movie.
I guess you have to like opera then. The school of cinema that I'm used to is a lot faster. And I think that reflects life better too, if you had an real world gun duel would they spend 10 minutes looking at each other first?
I'm not surprised at all by this. The score shapes a movie in a big way, something that you can't quite appreciate even when you're listening for it specifically. And yet a lot of people come out of a movie and say "the music? I never paid attention to it". But they did love the movie, they just don't realize how the score helped make that happen.
Never saw it, so.
True, and it's almost hard to understand have something so simple could have such a big effect.
I think that's rather exaggerated. It is what a lot of action movies are, but I don't think Bay is such a worst offender here. The movies I mentioned are Bad Boys and The Rock, both of which I loved.
I found Blade Runner very dull. But in general I don't think that's possible, bad score would kill the movie.
Never heard it.
This is so typical. I get branded as the eternal critic and hater of all things, people like Bes think all I can ever do is criticize because I time after time reject things that "everyone obviously should like".
And yet stuff like this doesn't bother me at all. And I'm the hater here.
What a world of lemmings.
This is so typical. I get branded as the eternal critic and hater of all things, people like Bes think all I can ever do is criticize because I time after time reject things that "everyone obviously should like".
And yet stuff like this doesn't bother me at all. And I'm the hater here.
What a world of lemmings.
This is so typical. I get branded as the eternal critic and hater of all things, people like Bes think all I can ever do is criticize because I time after time reject things that "everyone obviously should like".
And yet stuff like this doesn't bother me at all. And I'm the hater here.
What a world of lemmings.
And yet stuff like this doesn't bother me at all. And I'm the hater here.
What a world of lemmings.
no. it's because you criticize things i like
Really? I'm genuinely surprised. It's very famous. Jaw is maybe worth a look some evening if you're bored. It was the first summer blockbuster - a little piece of cinema history. It's a decent horror movie, though very tame by modern horror standards! Spielberg had enormous problems with the mechanical shark during filming, so he wound up leaning on the theme music a lot to generate a sense of menace. It's very effective that way.
Lemmings don't actually do that.
Anyway, taste is taste. There's no accounting for it. I've no problem telling someone that his politics or religion is daft, but music or film? Pah. There are better things to do.
As ever, a fun discussion Martin.
Lemmings don't actually do that.
Anyway, taste is taste. There's no accounting for it. I've no problem telling someone that his politics or religion is daft, but music or film? Pah. There are better things to do.
As ever, a fun discussion Martin.
Lemmings don't actually do that.
Speaking of score, have you played command & conquer much lately? "Generals" had some might fine score, I played that one a lot with family members a few years ago. It's interesting about strategy games like that, they're not very dynamic for big stretches of time, so the music really helps brings the ambiance to it. The first game like that I played was Dune 2000 and I loved the score that came with it.
I haven't really played Generals, but I've played a good bit of Red Alert and Red Alert 2, and the background music is very effective - martial but not distracting.
I've never played that. Is the music used in [video=youtube;GdRixLTCJoo]http://www.youtube.com/watch?v=dmflM70vtZI"]this[/URL] the same?. There's a piece of music I quite like from the 1984 Dune movie by Lynch, [URL="http://www.youtube.com/watch?v=GdRixLTCJoo[/video]. I don't recall how it's used in the film, but it seems to me to be perfect for panning across a huge desertscape, and maybe for some of the religious themes of the story.
I've never played that. Is the music used in [video=youtube;GdRixLTCJoo]http://www.youtube.com/watch?v=dmflM70vtZI"]this[/URL] the same?. There's a piece of music I quite like from the 1984 Dune movie by Lynch, [URL="http://www.youtube.com/watch?v=GdRixLTCJoo[/video]. I don't recall how it's used in the film, but it seems to me to be perfect for panning across a huge desertscape, and maybe for some of the religious themes of the story.