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Soundtrack details
http://filmmusicreporter.com/2017/04/15/king-arthur-legend-of-the-sword-soundtrack-details/
1. From Nothing Comes a King
2. King Arthur: Legend of the Sword
3. Growing Up Londinium
4. Jackseye’s Tale
5. The Story of Mordred
6. Vortigen and the Syrens
7. The Legend of Excalibur
8. Seasoned Oak
9. The Vikings & The Barons
10. The Politics & The Life
11. Tower & Power
12. The Born King
13. Assassins Breathe
14. Run Londinium
15. Fireball
16. Journey to the Caves
17. The Wolf & The Hanged Men
18. Camelot in Flames
19. The Lady in the Lake
20. The Darklands
21. Revelation
22. King Arthur: Destiny of the Sword
23. The Power of Excalibur
24. Knights of the Round Table
25. King Arthur: The Coronation
26. The Devil & The Huntsman
Really looking forward to this one! Pemberton is one of the most exciting composers around
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DP.
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The real motivation for this sort of film, now fashionable, is to take 'non-posh' culture and embed it as truer to history. It's a UK thing.
I can understand it, but there's a complete macho de-feminization of the material that gets tedious. Little boys with something to prove.
I see there are Vikings. There shouldn't be in the 5th Century. Vortigern did his deals with the Saxons, not the Vikings, who were a class and set of peoples, not a race anyhow.
Ritlchie's writers seem to want a macho English effect (as ever) but Arthur even in legend was a Celt. So the bad Saxon English raiders have to become the Vikings?
Why all this obsession with Vikings these days anyhow? Modern techno-nerd compensation for lost warrior values? And the short 'fashionable' haircuts?
I'd say hire farmers or people of the land to advise on the textures for these films. Instead of hard men from the computer cafes. 'Oh, I'm so hard, me; Ah can snap yer fingers off with me laptop, and me hair's cut like a bulldog.'
For myself, I'm not keen on the metallic textures everywhere, from the music to the silly costumes. It's a fantasy, it doesn't have to be 'authentic', but no matter how 'contemporary' it's trying to be, you'd think the very fact that multiplex cinemas are themselves full of glossy steel and shiny sheen, would make film-makers try for more organic textures on the actual screen.
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LMFAO!
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LMFAO!
That's just it.
It's certainly fun to lay basic rhythms on top of one another, and it can be good in certain contexts, but it's so easy. That's why music therapists and nursery school teachers use that to get beginners involved in making something. But d'you give awards for that sort of thing?
When you deal with the likes of Arthurian myth, you shouldn't need to 'make' it relevant to street kids; the thing is to SHOW the relevance it already has for them. My vote goes to Tone Loc here!
There were no London boys in Londinium, Guy. Just Romano-Celts kicking them out. The London boys were still on the boat. Get your own heroes.
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If the track titles are anything to go by, this is only episode 1 in some sort of trilogy or something.
I see some of the 'First Knight' suits of armour are getting another leasing from the sheet-iron warehouse.
Always recycle your fridge.
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Posted: |
May 19, 2017 - 5:10 PM
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By: |
davefg
(Member)
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The discussion seems to have died rather quickly on this one, though perhaps not surprising since this film has bombed. Warner Bros are set to lose between $100 million (Hollywood Reporter) - $300 million (NYT - based on production and marketing costs).
As for the score, this is Pemberton's weakest IMO since The Counselor. It mines RC techniques, the horn of doom opens the score which features throughout and the track the dark lands is the jokers theme from The Dark Knight, with violin replaced with a noise that does not sound to dissimilar from a remote controlled aircraft. The rest of the music sounds like a cast off from Djawadi's GOT score from the first few series of the show. On the upside the breathing track that was heard in the trailer is restricted to three tracks and the use of solo violin is effective in parts. Overall the score has a grungy dark feel to it making it a companion piece to The Eagle (Örvarsson), Centurion (Eshkeri) and Ironclad (Balfe). Balfe's score is however superior to those scores and to King Arthur and is worth a listen. In terms of scores for King Arthur, both Zimmer's and Goldsmith's music for King Arthur and First Knight respectively are far far better, as is the Danna brothers score to Camelot.
Pemberton's previous scores from The Man From UNCLE - Gold have been excellent, however I was hoping that he'd broaden his approach by writing music for the full orchestra over a limited number of specialised instruments, which he seems to favour.
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Nice little hour-long radio show on BBC last Saturday on the history of Arthurian movie scores, including this one:
http://www.bbc.co.uk/programmes/b08qtb46
Featured are Rozsa, Waxman, Zimmer, Goodwin, Pemberton, Jones, Dudley and others.
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I clicked on the trap, Ray!
Clicked on the score cue link. Ten seconds later: SKIP!
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Listened to the samples.....a few good tracks maybe but overall, not for me......pass.
....and I'm not watching the movie, either.....
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