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Post by christopher on Aug 8, 2013 20:59:42 GMT -8
I love discussions about current film music, because it usually clues me in on some of the more obscure scores that I wouldn't otherwise hear about.
Unfortunately, I don't have any of those to offer you. What I do have is a befuddlement about the praise I'm reading all over for Djawadi's score to PACIFIC RIM. I listened to this all the way through once and thoroughly despised it. It seemed like the most lazy and simplistic writing I had ever heard. I thought that if I had some moderately adequate composing program on my laptop I could have written this myself without much effort. I have heard a few scores that seemed pretty blah to me this year, but this is one of the few that I actually disliked. Then everyone started praising the thing like it was something good.
Now I'm wondering if I was just grouchy or something when I listened to it. But I hated it so much I really don't even want to try it again. Then again, I'd hate to give up on something that has merit after just one chance. Anyone want to give me something to listen for that you enjoyed from that score? If I had something positive to anticipate maybe it would change my opinion.
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Mike Skerritt
Intern
Friend. Roman. Countryman. Maker of waffles.
Posts: 67
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Post by Mike Skerritt on Aug 9, 2013 8:16:18 GMT -8
I finally saw it last night and I can tell you that Joe Bishara's THE CONJURING is really, really good. It's a horror score so you have some idea of what it might sound like, but Bishara expertly plays with the rising tension in the narrative as more and more things go bump in the night. The entire sound design of the movie is brilliant. Oddly enough, the only thing that doesn't really work is Isham's "Family Theme," which sounds like it's from a different movie entirely and to me doesn't have enough weight to justify the diversion. It's attractive but not cathartic.
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Post by christodoulidesd on Aug 9, 2013 8:38:04 GMT -8
I hear Bishara is a very odd dude His insidious score is great.
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Post by christopher on Aug 9, 2013 10:09:21 GMT -8
I'm listening to Max Richter's score to the odd film THE CONGRESS. It's an odd score, too, kind of bouncing between different musical styles. I'm a big fan of a few of the tracks on here: "The Beginning and the End," and "All Your Joys All Your Pain" both have this really gradual introduction and slowly build to something that never gets too big itself, but feels bigger just because of the way the orchestra eases into it so slowly. "Winterreise" is also lovely. The standout track from it, though is the finale track (I assume it's the finale) "She Finds the Child," which I find quite beautiful although it's soft and slow and never goes very far.
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