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Posted: |
Jan 15, 2009 - 5:29 AM
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By: |
Devmo
(Member)
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I'd be even more careful about equating Tyler Bates with Bela Bartok! (Not to beat on the TITUS door again, but even when Elliot Goldenthal provided a perfectly paved path to walk on, Bates managed to orchestrate it into a blander sounding version of the original.)
I'm not equating Tyler Bates to one of greatest composers of the 20th century.
What I'm clearly suggesting is that referencing a folk song should hardly be considered "plagiarism."
This is different from Bates aping Goldenthal's Titus, poorly as you say.
I'm not sure why I'm defending Bates, I'm not a fan of his. I didn't like the score to 300. Haven't heard anything else of his.
I'm just saying - maybe he deserves a little more of chance.
I hated Ilan Eshkeri's rip of Dracula in Stardust... completely distracting, but again I immediately assumed this had to do with temp track pressure, not an actual creative choice exclusively made by the composer.
I'm sure these guys don't have the power to refuse doing such things like say a Williams or an Elfman or somebody.
Does that make it cool? No, it sucks. But, here's hoping Bates had a little more freedom with Watchman. So far I've heard 30 seconds, so time will tell.
I fully expect to hear some Glass-eque music, judging from the trailers. If he can find a way of putting a unique stamp on it, like Elfman did with S.O.P., that would be just fine and dandy.
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I quite enjoy Tyler's music.
Yep, me too. I take everyone's point about the idea od 'sound design' taking over a lot of movies these days but, if its going that way I at least like what Mr bates puts out ( in general!)
I was curious what others felt about his score for DOOMSDAY? It never really got much of a discussion here at its release, as folk were still lynching the guy for '300'! Any comments folks..good or bad?
Haven't heard it but the continual lynching of Bates and other composers is clearly a sign that film score fans are angry, socially maladjusted (mainly) guys who have way too much time on their hands. 
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There are other reasons to be angry about DOOMSDAY. Another (much stronger) composer was very close to getting that, though perhaps that composer should be grateful for dodging a bullet. Probably not a film that would have played to anyone's strengths.
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20. Requiem (Excerpted from Mozart's Requiem)
Being a bit more cautious about crediting things after the 300 gafuffle?
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It's interesting that the "songs" album includes the Philip Glass pieces used in the trailer. I'm wondering if they're actually used in the film, or if they're including them just because they were in the second trailer (and fanboys tend to be completists...)
We'll see when the film comes out.... there's a particular sequence that I was at the scoring session for - so I heard Tyler Bates' music - and then a few days later I was at a sneak preview of footage from the film and they had the Philip Glass piece in there as the temp. (No, the two pieces were definitely different from each other, before anyone asks.)
The question is.... what got kept in the final dub!
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to me,
Smashing Pumpkins The Beginning is the end music used in the trailer just screamed Watchmen to me.
They should have asked smashing pumpkins to do the entire score, just based on that one song.
such a great song, suits the movie perfectly.
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I was curious what others felt about his score for DOOMSDAY?
I am really digging it, and listening to it right now. Headless Love, the final cue, is my favorite. Nice, propulsive action scoring. Lots of fun.
I really enjoy this style of music. I enjoyed 300 as well.
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Posted: |
Mar 5, 2009 - 8:17 PM
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By: |
The Mutant
(Member)
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Everything I have heard by Tyler Bates so far has struck me as bland, themeless ambient musical wallpaper. But seeing how cowardly a lot of so-called "visionary" filmmakers are these days about letting a composer write music that might leave a lasting impression on an audience, I have a feeling he'll be around for a long, long time.
What baffles me, frankly, is how many people around here seem to enjoy this kind of endless, droning crap. I mean, maybe it works in the film sometimes, but as a separate listen? Good God, the stuff is almost intolerable. I'd made it through half of Bates' The Day The Earth Stood Still before I couldn't take it anymore and switched to something with a real musical identity.
To each his own, I suppose.
Agreed.
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Posted: |
Mar 6, 2009 - 2:59 AM
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By: |
Miragliano
(Member)
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I happen to really enjoy the Doomsday score. According to Neil Marshall, the Director, the aim was to provide a score that emulated those for films like Escape from New York, Mad Max 2, etc. Which is what the score reminded me of.
Kind of a cross between the synth scores of John Carpenter blended with Blade Runner Vangelis and Tyler's own 300 score. It evokes a perfect atmosphere and works well in the film.
For my own musical tastes, I can appreciate this as well as enjoying William's Indy scores, Goldsmith's ST: Motion Picture and Alien scores, Shore's Lord of the Rings, Morricone's work for the Dollars Trilogy etc. I fail to see why only one style of film music has to be "The One True Way."
I like the Watchmen score but it hasn't really blown me away, there are lots of short cues and no overarching themes running through the score which is something I value.
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