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 Posted:   Apr 11, 2011 - 6:18 PM   
 By:   SpeakerToAnimals   (Member)

Duncan Jones (director of MOON, and the son of David Bowie) is directing a new action-thriller titled SOURCE CODE. The film is about a government experiment program that enables a soldier to cross over into another man's identity in the last 8 minutes of his life to help prevent a terrorist attack.

And to hope that his next leap... will be the leap home?


MILD SPOILER ALERT!!

The moment I recognised the voice of the lead's father on the telephone I fell in love with this movie.

SPOILER OVER!!!

 
 
 Posted:   Apr 12, 2011 - 1:45 AM   
 By:   FalkirkBairn   (Member)

My review of Chris Bacon's score for SOURCE CODE is now up at MainTitles.net:

http://www.maintitles.net/reviews/source-code/

I found it quite a frustrating listen in that there were tantalising glimpses of some excellent emotional scoring that stood way out above the less interesting suspense and tension scoring. Probably quite serviceable in the movie but not too interesting as a listen away from the movie.

 
 
 Posted:   Apr 12, 2011 - 5:50 AM   
 By:   JADSTERSDAD   (Member)

It reminds me of Paycheck a lot, but that's only a good thing! Somebody mentioned the music seemed out of place in the movie, but to me it felt incredibly fresh to hear something like this in a sci-fi thriller instead of the usual drone.

Very impressed with the movie and score. Highly recommend both.

Edit:

I'll take an "overbearing" score over the droning nothingness that passes for film music these days. I was literally grinning over the opening credits just due to the music, and I can't remember the last time that happened.

Completely agree. I think I was probably doing the same. I definitely felt a weird (or long lost) feeling when the music came on.


Count me on on that too.

 
 
 Posted:   May 7, 2011 - 12:43 PM   
 By:   Mike West   (Member)

did not see the movie so far, but bought the CD inspired by the interview in the new FSMO.

So far I could just listen to it very briefly due to a lot of work and the kids at home,
but it sounds very promising.
Hope I find some quite moments soon to really listen to it

 
 Posted:   May 7, 2011 - 8:25 PM   
 By:   nuts_score   (Member)

Great movie and terrific score.

 
 
 Posted:   May 7, 2011 - 11:33 PM   
 By:   Mike West   (Member)

Could really listen to it today for the first time.
As ha been posted above, Source Code is somewhere in the same musical landscape as
Signs and the Bourne Films (the major third as a closing note in phrases surrounded by an minor mode context), but I don't agree to some you say JNH or Powell should get composer
credits, Bacon writes his own original music in the same fashion.

What a hell of a debut.
Waiting for the next Bacon!

 
 Posted:   May 8, 2011 - 1:58 AM   
 By:   Hybrid Soldier   (Member)

Could really listen to it today for the first time.
As ha been posted above, Source Code is somewhere in the same musical landscape as
Signs and the Bourne Films (the major third as a closing note in phrases surrounded by an minor mode context), but I don't agree to some you say JNH or Powell should get composer
credits, Bacon writes his own original music in the same fashion.

What a hell of a debut.
Waiting for the next Bacon!


Not exactly a "debut", his score for Space Chimps 3 years ago got a CD release, he did some stuff released digitally : Nora Roberts Collections (TV films) & Alpha and Omega... razz

 
 
 Posted:   May 12, 2011 - 4:44 AM   
 By:   Thor   (Member)

Just came back from a press screening of this one (it hasn't premiered in Norway yet).

Love the film, thought the score was really good.

But I don't hear that JNH influence that everyone raves about. At least not very much. To me, there were three distinct elements - the 70's gritty urban jazz thriller sound of the opening theme (a la Shire's TAKING OF PELHAM), the smooth thriller strings a la Goldsmith's BASIC INSTINCT and then the very emotional, almost James Horner-like sweep of the romantic theme.

I think I'm gonna write an article on this score for montages.no. Will keep you updated.

 
 
 Posted:   May 12, 2011 - 4:51 AM   
 By:   Mike West   (Member)

Just came back from a press screening of this one (it hasn't premiered in Norway yet).

Love the film, thought the score was really good.

But I don't hear that JNH influence that everyone raves about. At least not very much. To me, there were three distinct elements - the 70's gritty urban jazz thriller sound of the opening theme (a la Shire's TAKING OF PELHAM), the smooth thriller strings a la Goldsmith's BASIC INSTINCT and then the very emotional, almost James Horner-like sweep of the romantic theme.

I think I'm gonna write an article on this score for montages.no. Will keep you updated.


very well observed, Thor
I think the harmonic progressions in the strings in the quieter moments are very much like JNH, the voicing/spacing of the chords, the repertoire of chords and their connection etc.

And the higher fast Horn repetitions are the same as in SIGNS

The love theme sounds very inspired, very fresh, I like that too.

 
 
 Posted:   May 12, 2011 - 10:54 AM   
 By:   Kev McGann   (Member)

"But I don't hear that JNH influence that everyone raves about."
-------------------------------
WHAT!!!!!
Then you obviously haven't been listening to scores like SIGNS, THE VILLAGE and THE INTERPRETER very much. To me, it's exactly the sound of JNH.
I was about to add some smartarse 'check your ears' joke but then remembered you do have a severe tinnitus problem! wink

 
 
 Posted:   May 12, 2011 - 11:46 AM   
 By:   Thor   (Member)

"But I don't hear that JNH influence that everyone raves about."
-------------------------------
WHAT!!!!!
Then you obviously haven't been listening to scores like SIGNS, THE VILLAGE and THE INTERPRETER very much. To me, it's exactly the sound of JNH.
I was about to add some smartarse 'check your ears' joke but then remembered you do have a severe tinnitus problem! wink


Well, I've seen the Shyamalan movies, of course, but not listened intently to the soundtracks (they're not really my thing). Maybe there's a similarity there that I've missed, but I found few - if any - JNH licks in the score otherwise. I'll probably be listening to the score again before I write the article, and I'll see if I hear anything then.

 
 
 Posted:   May 12, 2011 - 11:54 AM   
 By:   Kev McGann   (Member)

Thor, make sure you play the SIGNS main title and finale tracks in comparison to the Bacon stuff, before you write your piece. Maybe Powell's PAYCHECK score too. It will certainly help your analysis smile

 
 
 Posted:   May 12, 2011 - 11:56 AM   
 By:   Thor   (Member)

The SIGNS main title I'm very familiar with. The only similarity I get in that case, is that there are some minimalistic figures in both. The string ostinato thing. But that's not exclusive to JNH, of course.

 
 Posted:   May 12, 2011 - 3:38 PM   
 By:   Hercule Platini   (Member)

Saw the film this afternoon, rather pleased by the score. I certainly got whiffs of Jerry and JNH. Pete Anthony is credited in the movie as conductor, and there's an orchestra contractor listed on the IMDb.

 
 
 Posted:   May 12, 2011 - 3:45 PM   
 By:   Mike West   (Member)

The SIGNS main title I'm very familiar with. The only similarity I get in that case, is that there are some minimalistic figures in both. The string ostinato thing. But that's not exclusive to JNH, of course.

apart from the similarities I mentioned above, there are some urgent melodic horn gestures which are very similar, and the way how they are incorporated in the context

 
 Posted:   Aug 21, 2011 - 8:21 AM   
 By:   Hester_Pryne   (Member)

Could be interesting.

It's a fun movie and the score is outstanding. Had no idea who the composer was, but right from the opening credits I sat up and took notice. I am very glad to see Lakeshore stepping up to the plate with a CD release.



Just watched this excellent & surprising film; and must agree that from the very beginning the opening music had my blood racing. Very Bernard Herrmann in its sense of urgency and lyrical bombastic pace. An impressive debut from a new voice in the biz.

 
 Posted:   Aug 21, 2011 - 9:21 AM   
 By:   The REAL BJBien   (Member)

Just watched this excellent & surprising film; and must agree that from the very beginning the opening music had my blood racing. Very Bernard Herrmann in its sense of urgency and lyrical bombastic pace. An impressive debut from a new voice in the biz.

A strong opening cue raised my expectations but having seen the film twice now [I thought it was OK the first time but really HATE the ending the second time around [[and by that I mean everything after Colter looks at the orb art piece]] the score sounds rather derivative and yes, if you told me it was JNH scoring it I would believe it so let us hope that Bacon comes out swinging the next time around.

Would be awful if James Newton Howard learned this trick from working with Zimmer and RC/MV....

 
 Posted:   Aug 21, 2011 - 10:08 AM   
 By:   nuts_score   (Member)

A strong opening cue raised my expectations but having seen the film twice now [I thought it was OK the first time but really HATE the ending the second time around [[and by that I mean everything after Colter looks at the orb art piece]] the score sounds rather derivative and yes, if you told me it was JNH scoring it I would believe it so let us hope that Bacon comes out swinging the next time around.

Would be awful if James Newton Howard learned this trick from working with Zimmer and RC/MV....


I agree completely. I really enjoyed the movie in the theater but when I rented it a few weeks back the ending became more apparently flawed. And it ended perfectly before all of that! I downloaded the Bacon score, listened to it once, and got bored before it even ended. This score shouldn't even be mentioned in the same sentence as Bernard Herrmann.

 
 Posted:   Aug 21, 2011 - 5:19 PM   
 By:   Hester_Pryne   (Member)


Bernard Herrmann.

I liked it. The action sequences & the emotional/love theme.

Great film.

 
 
 Posted:   Aug 22, 2011 - 3:26 PM   
 By:   jonathan_little   (Member)

I thought the opening music was very Herrmannesque.

 
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