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TenderLumpling Wrote:
A score just serving a film, without any variety
> or variance, should not be enough to win an
> academy award. That isn’t the criteria for any
> other aspect of filmmaking — to just solely be
> effective and that’s it.That’s one strange argument if I’ve ever seen one. Of course, you may have a more ambient, textural score with minimal melody and/or instruments that lifts the film to higher quality – TERMINATOR 2, CRASH (Isham’s version), BLADE RUNNER, SOLARIS (Martinez), ERASERHEAD, MOON and so on. It all depends on the type of movie and what they want to say with it. Thankfully, music is more than orchestral or thematic music, nice as that may be.
Thor Wrote:
> TenderLumpling Wrote:
>
> Of course, you may have a more ambient, textural
> score with minimal melody and/or instruments that
> lifts the film to higher quality – TERMINATOR 2,
> CRASH (Isham’s version), BLADE RUNNER, SOLARIS
> (Martinez), ERASERHEAD, MOON and so on. It all
> depends on the type of movie and what they want to
> say with it.Good examples. Also I must say that all sci-fi movies should be provide by electronic/minimal/ambient score.
TenderLumpling Wrote:
> Yeah, but those scores have more than just 13
> minutes of the same 2 bars of music.Well, if it’s the repetitive aspect you don’t like, what about the minimalist music by Glass, Nyman et.al.?
BROKEBACK MOUNTAIN called for a) a SMALL amount of music, since the relationship between the two speaks for itself and becomes more ambivalent without musical guidance and b) just that gentle guitar solo to insinuate the gentle, slightly melancholic relationship as put against an outdoors/playing-guitar-by-the-fire type of mood.
I thought it was absolutely perfect and a very deserved winner.
Well, if it’s the repetitive aspect you don’t like, what about the minimalist music by Glass, Nyman et.al.?
Well, Glass’ material is so much more comprehensive, offering variety.
The Fahrenheit 451 score was not even released until a few years ago (conducted by Morgan Stromberg, I believe), is that correct? If so, I find it hard to imagine that Danny Elfman would be familiar enough with the music to quote it….
And regarding Pee-Wee’s Big Adventure (I have no desire to mention the other one), I personally consider it to be the best Nino Rota pastiche I have ever heard. His theme for Pee-Wee is very similar to the theme from Otto e Mezzo, to my ear.
The Fahrenheit 451 score was not even released until a few years ago (conducted by Morgan Stromberg, I believe), is that correct? If so, I find it hard to imagine that Danny Elfman would be familiar enough with the music to quote it….
He could have, you know, just watched the movie. lol.
Timur Bekmambetov signs to produce and direct THE LAST WITCH HUNTER:
http://www.deadline.com/2010/03/summit-bewitched-by-timur-pitch/
Ryan
Well, here is another possible one. Elfman may no longer be the comic book guy and might be the Monster guy from here on out. We’ll see.
http://www.aintitcool.com/node/44456
Lucius
Just a quick question Ryan… What’s your beef with AICN? As an Austinite I would like to know. Just wondering… ps. I don’t read it, it was just a question..
…
Sorry about that, Ryan. I forgot about your ‘Harry Hate’. Don’t ban me from the forum. I will only post from legitimate sites from now on. Does Perez Hilton cover movies?
Lucius
Matthew Vaughn is directing X-Men: First Class. So, if Elfman did indeed contribute a track to Kick-Ass then perhaps he’ll be considered for this gig.
I had thought that David Arnold was scoring that film, but that doesn’t appear to be the case. Elfman for Scott Pilgrim! He ought to establish a working relationship with Edgar Wright, one of the most creative filmmakers working today. Cool guy, too.
I think that Scott Pilgrim is mostly gonna be songs, but a track or two of score music could work as well. And since Danny surprised everyone by contributing one single track in Kick-Ass then anything is possible.
Hmn, this could be good:
http://www.heatvisionblog.com/2010/06/john-august-reteaming-with-tim-burton-exclusive.html
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