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anyone seen or heard BEFORE MIDNIGHT?
The reviews for the film have been amazingly positive!
and the music is by Graham Reynolds who did the terrific score for A SCANNER DARKLY
brm
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Today my focus is Spain and particularly Roque Baños. He just arrived in the US and did a terrific job on THE EVIL DEAD. But the other over 30 Spanish scores have tons of treasure in them. My guess is, like Desplat, his career begins now for many. THE MACHINIST, SEXY BEAST and THE EVIL DEAD exist here for collectors because they have English titles. But titles like OBRA MAESTRA, TORRENTE, NO SOMOS NADIE, LA VOZ DE SU AMO and many more are the ones that he honed his skills on and will make him ready for some Hollywood item that people will "discover" on and then add him to their list with Giacchino and Desplat.
You are right about Baños. And there is also some other non-USA composers that are quite good, like Gustavo Santaollala, Javier Navarrete, Alberto Iglesias, Joe Hisaishi, Dario Marianelli, Fernando Velazquez, Naoki Sato, Marcelo Zarvos, among others.
It is very refreshing to see some USA directors working with these composers and YOR hopes they keep doing nice scores.
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Posted: |
Jun 15, 2013 - 3:30 PM
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By: |
Morricone
(Member)
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Today my focus is Spain and particularly Roque Baños. He just arrived in the US and did a terrific job on THE EVIL DEAD. But the other over 30 Spanish scores have tons of treasure in them. My guess is, like Desplat, his career begins now for many. THE MACHINIST, SEXY BEAST and THE EVIL DEAD exist here for collectors because they have English titles. But titles like OBRA MAESTRA, TORRENTE, NO SOMOS NADIE, LA VOZ DE SU AMO and many more are the ones that he honed his skills on and will make him ready for some Hollywood item that people will "discover" on and then add him to their list with Giacchino and Desplat.
You are right about Baños. And there is also some other non-USA composers that are quite good, like Gustavo Santaollala, Javier Navarrete, Alberto Iglesias, Joe Hisaishi, Dario Marianelli, Fernando Velazquez, Naoki Sato, Marcelo Zarvos, among others.
It is very refreshing to see some USA directors working with these composers and YOR hopes they keep doing nice scores.
I remember when this fellow was on a tirade about film music many years ago. He went on about how they didn't write scores like GONE WITH THE WIND, SUNSET BOULEVARD, BEN-HUR, LAWRENCE OF ARABIA and THE GODFATHER anymore. I couldn't resist the set-up, so I added "and there were some great American composers too!" He didn't get it. The ones he mentioned were all born elsewhere and came here.
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I remember when this fellow was on a tirade about film music many years ago. He went on about how they didn't write scores like GONE WITH THE WIND, SUNSET BOULEVARD, BEN-HUR, LAWRENCE OF ARABIA and THE GODFATHER anymore. I couldn't resist the set-up, so I added "and there were some great American composers too!" He didn't get it. The ones he mentioned were all born elsewhere and came here.
Who is "this fellow" you mentioned??
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Another Zimmer moaning thread - keep 'em coming. I'm afraid it won't change anything, though.
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Posted: |
Jun 16, 2013 - 10:42 AM
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By: |
Regie
(Member)
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I think 'the sorry state of film music' is about the SORRY STATE OF FILM today....period!
What has happened to American cinema - that glorious legacy which brought us scripts from the GREATS such as Garson and Kanin, Donald Ogden Stewart, Samson Raphaelson, Casey Robinson, Wendel Mays, Preston Sturges, Dudley Nichols, Joseph Mankiewcz, Billy Wilder, Ernest Lehman, Clifford Odets....just to name a few?
Two nights ago I watched "The Dark Knight" (well, as much as I could before turning if off) and I was appalled. Nothing remotely interesting or nuanced for any character to say and so self-actualizing were the performances that each line, no matter how trivial, was invested with cosmic significance. Michael Caine was just an embarrassment, parodying himself as he does these days. No plot, one-dimensional 'characters', actors with that demonstrable arrogance and swagger so ubiquitous in American cinema of the last 25 years, an astonishing lack of acting skills from anybody, and - I'm terribly sad to say - our dear, late Australian Heath Ledger making a fool of himself right at the end. People just don't realize that playing parts in films like the character of Atticus Finch are just so much harder to achieve than donning whiteface, grimy lipstick and a contorted face and voice.
No surprise, then, that music is generic and more like the equivalent of sonic wallpaper. I'm over it!
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Posted: |
Jun 16, 2013 - 10:33 PM
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By: |
desplatfan1
(Member)
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Oh, here we go again. Every time a new Zimmer score comes out, the old farts start to whine.
Aside from Michael Giacchino and Alexandre Desplat, today's film music landscape is bleak and unforgiving. 
The landscape always shifts. 10 years ago there was this guy Desplat that I had over a dozen French scores by that blew me away. I kept pointing to him. But foreign CDs were a bit more expensive (Ha! Try and buy them now) and few were interested. He comes to the US and now is the hottest thing since sliced bread but those early scores remain for me his goldmine.
Today my focus is Spain and particularly Roque Baños. He just arrived in the US and did a terrific job on THE EVIL DEAD. But the other over 30 Spanish scores have tons of treasure in them. My guess is, like Desplat, his career begins now for many. THE MACHINIST, SEXY BEAST and THE EVIL DEAD exist here for collectors because they have English titles. But titles like OBRA MAESTRA, TORRENTE, NO SOMOS NADIE, LA VOZ DE SU AMO and many more are the ones that he honed his skills on and will make him ready for some Hollywood item that people will "discover" on and then add him to their list with Giacchino and Desplat.
I agree. Spanish composers are bringing some freshness into the film music sound. I'm still hoping that Ángel Illarramendi finally gets a break into US, since that he already worked in some spanish-british productions. His last two scores took two years to be released.
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