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You can buy the FLAC version from anywhere.
Does the Czech site's FLAC option come with MP3s as well? The listing seems to say the options are "MP3 or "FLAC + MP3".
Think I'll finally break down and buy this as it appears there will not be a CD anywhere.
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You can buy the FLAC version from anywhere.
Does the Czech site's FLAC option come with MP3s as well? The listing seems to say the options are "MP3 or "FLAC + MP3".
Think I'll finally break down and buy this as it appears there will not be a CD anywhere.
Yes. I used google translate to figure everything out.
Thanks! Good to know.
I'll wait, however, until the film comes out here in the US. Quite often Amazon.com suddenly has CD versions of score albums appear after the movie comes out that were previously download only for weeks.
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This score is tied with Oblivion as my favorite of the year so far. The main theme is gorgeous, with hints of Amelie and the score for Tati's Playtime.
The cue titled "Driving Back" on the FYC, which makes up the second half of the album track "Anthony's Story", is a perfect example of the simple yet brilliant scoring choices Desplat makes. The sequence had most of the audience in tears when I saw it, due in no small part to the understated yet emotional music.
The album and the FYC are very different listens, I should point out, and each is worthwhile in their own way.
Also, the film is really great. I think Coogan may be a surprise nominee for Best Screenplay, it's an amazing achievement that this piece never veers off into schmaltz but also manages to avoid being overly snarky. The film walks a VERY difficult line between the two and works amazingly well. While the lead performances and Frears's direction help enormously, it's Coogan and his co-writer who found the way to make this story something other than the Lifetime movie it could so easily have been.
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How is the music mixed in the film? Did you struggle to hear the score?
Not at all. Stephen Frears has a very European approach, much like Polanski, respecting Desplat's contribution and giving him free rein to create hugely thematic music that dominates the portions of his films where it's used, and then also not burying it in the mix.
It's nothing like the many recent American films Desplat has scored, where he's given a twenty-second establishing shot to score over, followed by lengthy dialogue scenes to somehow score under.
Desplat's working relationships with Frears and Polanski are generating some of his best scores recently.
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Best score of the year - why it's almost real movie music! But then Stephen Frears is a real director and the film is great and the music functions beautifully in it.
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