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 Posted:   Oct 9, 2013 - 12:31 PM   
 By:   Basil Wrathbone   (Member)

I didn't think Bullock was convincing during the second half of the picture. Looked like she was doing her best to pretend she was Sigourney Weaver.

 
 
 Posted:   Oct 9, 2013 - 2:05 PM   
 By:   Mr. Shark   (Member)

One of those films where silence would have been more powerful.

The director has stated in interviews that they tried this, but the effect was too intellectual


What's wrong with a film being intellectual?

 
 Posted:   Oct 9, 2013 - 2:20 PM   
 By:   Basil Wrathbone   (Member)

One of those films where silence would have been more powerful.



No thanks. There were some soundless parts and I could hear the guy behind with a rumbling belly and his girlfriend giggling about it.

 
 Posted:   Oct 9, 2013 - 3:12 PM   
 By:   dogplant   (Member)

What's wrong with a film being intellectual?

Nothing.

I found the quote, from an October 3 'Cool News' interview, and CuarĂ³n did not use that word:

'At one point, we did experiment with complete silence, and it was an alienating experience for the audience. We were pushing them too far away. Silence makes sense in contrast with sound, but we were clear that we didn't want to do something like putting sound in space. So the only sound that you hear as effects is whenever there is interaction with their bodies, because the vibrations would resonate in their ears. And then we took the approach of using music to convey a certain sense of energy. An interesting thing that Steven Price did is that it's music composed for surround. In other words, conventional music comes stereo right and left of the screen; here, it's a bunch of split tracks coming from every single one of the speakers, but not all of them at the same time. Sometimes it's a harmony that appears behind you and starts traveling around and converges with a harmony that is going in the opposite direction. What was important was to create an immersive experience, where you feel like an extra astronaut that is floating next to our characters.'

More on the sound design here: https://vimeo.com/76123849

 
 
 Posted:   Nov 14, 2013 - 4:21 AM   
 By:   Kev McGann   (Member)

I thought the score did an amazing job in the film, which I really enjoyed in 3D last night.
It acted brilliantly as sound design when needed to and also provided the simplicity and emotion when required later on. Yes, it's what we term a 'modern' score now but I don't think a lyrical symphonic score would have worked at all. It got the score it needed and I'm sure Cuaron is delighted with the work Price has done.
I don't know how it would play as a stand-alone listen, but that's not the main point with film music (although I recall a few tracks that were nice and I would like to replay alone).
I wouldn't be surprised if Price bags an Oscar (like they have a clue anyway) and I would not begrudge him it for the work he has put in on this film. Good job all round.

 
 Posted:   Nov 14, 2013 - 7:20 AM   
 By:   DeputyRiley   (Member)

Just saw the film two days ago, outstanding score for an outstanding film. A few passages were a bit harsh for my aging ears. Also, I didn't personally care for the female vocal style during the closing track -- normally I love female vocals in film music -- but it did admittedly work quite well narratively. Otherwise a brilliant, engaging score. A perfect example of music and image working seamlessly hand-in-hand to provide a breathtaking filmgoing experience.

 
 Posted:   Jan 15, 2014 - 4:02 PM   
 By:   losher22   (Member)

I have yet to see the movie, but holy $HIT, what an awesome score. Steven Price SO deserves an Oscar for this completely unique experience. To my ears it plays like a melding of a wondrous, beautiful, thematic film score and a dark ambient record akin to Lustmord or even an astral-angled Svartsinn. Absolutely brilliant!!!

 
 Posted:   Jan 15, 2014 - 9:33 PM   
 By:   Loren   (Member)

I have yet to see the movie, but holy $HIT, what an awesome score. Steven Price SO deserves an Oscar for this completely unique experience. To my ears it plays like a melding of a wondrous, beautiful, thematic film score and a dark ambient record akin to Lustmord or even an astral-angled Svartsinn. Absolutely brilliant!!!

Totally agree.
For sure Gravity belongs to top three 2013 soundtracks (... so Williams' talibans don't get offended)

 
 Posted:   Feb 18, 2014 - 5:37 AM   
 By:   Loren   (Member)

Gravity won the BAFTA award (for what it's worth).
http://awards.bafta.org/award/2014/film

Surprised and delighted.
Really hope this could mean the end of Williams-style supremacy and conservatism.

 
 
 Posted:   Feb 18, 2014 - 6:20 AM   
 By:   Kev McGann   (Member)

Hey Loren, from your profile..." WILLIAMS: once my favourite composer, I cannot stand his conventional and sickly music anymore though keep on buying his scores "

Perhaps therapy might help ?? wink

 
 Posted:   Feb 18, 2014 - 6:53 AM   
 By:   SchiffyM   (Member)

Gravity won the BAFTA award (for what it's worth).
http://awards.bafta.org/award/2014/film

Surprised and delighted.
Really hope this could mean the end of Williams-style supremacy and conservatism.


First off, a BAFTA award would have no such effect.

Secondly, it is not 1982, so "Williams-style conservatism" hasn't been "supreme" for many, many years.

 
 Posted:   Feb 18, 2014 - 7:50 AM   
 By:   Maleficio   (Member)

Gravity won the BAFTA award (for what it's worth).
http://awards.bafta.org/award/2014/film

Surprised and delighted.
Really hope this could mean the end of Williams-style supremacy and conservatism.


Please take me to this fantasy land where Williams-style supremacy and conservatism still exists!

 
 Posted:   Feb 18, 2014 - 7:50 AM   
 By:   Maleficio   (Member)

Gravity won the BAFTA award (for what it's worth).
http://awards.bafta.org/award/2014/film

Surprised and delighted.
Really hope this could mean the end of Williams-style supremacy and conservatism.


Please take me to this fantasy land where Williams-style supremacy and conservatism still exists!

 
 
 Posted:   Feb 18, 2014 - 7:54 AM   
 By:   Ado   (Member)

Gravity won the BAFTA award (for what it's worth).
http://awards.bafta.org/award/2014/film

Surprised and delighted.
Really hope this could mean the end of Williams-style supremacy and conservatism.


So you are celebrating the demise of classic compositional techniques over wall of sound droning.? Ick

 
 Posted:   Feb 18, 2014 - 8:46 AM   
 By:   MKRUltra   (Member)

This was the worst score I heard in a film last year. Every time it started droning or blaring with zero subtlety and no actually interesting musicality it took me right out of the film (which is also insanely overrated -- it's basically SPACE: THE RIDE). Completely didactic noise that sucked any tension out of the proceedings. And that awful, Zimmer-y "one woman wail" ending cue, ugh.

 
 
 Posted:   Feb 18, 2014 - 8:53 AM   
 By:   Kev McGann   (Member)

" it's basically SPACE: THE RIDE "
----------------
And that's why it made a bonkers amount of money and is up for all kinds of accolades.

 
 Posted:   Feb 18, 2014 - 8:54 AM   
 By:   Shaun Rutherford   (Member)

This was the worst score I heard in a film last year. Every time it started droning or blaring with zero subtlety and no actually interesting musicality it took me right out of the film (which is also insanely overrated -- it's basically SPACE: THE RIDE). Completely didactic noise that sucked any tension out of the proceedings. And that awful, Zimmer-y "one woman wail" ending cue, ugh.

I also didn't really get why this was such a good score, though the movie is great. I don't think it's horrible, but it's not award-worthy, either.

 
 Posted:   Feb 18, 2014 - 8:57 AM   
 By:   Juanki   (Member)

This was the worst score I heard in a film last year.

I don't agree. It's a vanguardist piece of music in the times that Remote Control kind of scores dominate every feature. It's very narrative also.

(which is also insanely overrated -- it's basically SPACE: THE RIDE).

I do agree.


And that awful, Zimmer-y "one woman wail" ending cue, ugh.


Woman wail has been overused but I thought it was very appropriate for the scene.

 
 Posted:   Feb 18, 2014 - 9:01 AM   
 By:   Shaun Rutherford   (Member)

This was the worst score I heard in a film last year.

I don't agree. It's a vanguardist piece of music in the times that Remote Control kind of scores dominate every feature. It's very narrative also.

(which is also insanely overrated -- it's basically SPACE: THE RIDE).

I do agree.


And that awful, Zimmer-y "one woman wail" ending cue, ugh.


Woman wail has been overused but I thought it was very appropriate for the scene.


Appropriate for the cathartic conclusion of the film and her story, but no less annoying as a device. Does that make sense?

 
 
 Posted:   Feb 18, 2014 - 9:09 AM   
 By:   Kev McGann   (Member)

I thought the score worked really hard in the film, many times being used as sound FX too, per the director wanting to avoid any other sounds in the film.
This score wasn't just being used to help support some scenes, it was generally carrying all the sonics we were being exposed to.
I think it deserves all the recognition it gets (even if that buzzing noise came from Horner's VIBES).

 
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