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I was disappointed with the movie. It was pretty much just going for the gore, and it didn't have enough freshness to back it up. It was still somewhat enjoyable, but nothing like the other entries in the series. The score, however, has really been growing on me. La La Land put out a great release there!
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Jason got disappointed.
He has feelings, afterall!
Scary stuff!
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Yes Yor, we´re doomed, we are all doomed...
Now I gotta go hiding howling to the moon...beware the moon
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I was sitting five rows back from Roque, really terrific performance, what a night that was in Cordoba, great to have it on film!!!
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Superb score, superb concert performance.
Imagine that they had to persuade the studio/producers to hire Banos in the first place (although he's an Award-winning composer in Spain), but the likes of Hans Zimmer getting every single blockbuster thrown after him.
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Superb score, superb concert performance.
Imagine that they had to persuade the studio/producers to hire Banos in the first place (although he's an Award-winning composer in Spain), but the likes of Hans Zimmer getting every single blockbuster thrown after him.
Let's not bring Zimmer into yet another thread please?
Evil Dead was a $14 million dollar picture which by today's standards is almost independent as far as budgets go. No way did they have the money to hire anyone from RC much less Zimmer (they were probably all busy on almost every blockbuster score from the summer anyhow). The director did have to convince Raimi and Campbell to go with Banos mostly because he's not a well known composer in North America. Luckily for everyone, the composer delivered one of the most memorable, well crafted scores a lot of film score fans have heard in years.
Listening through the expanded LLL release confirms the time, care, energy and pure skills that Banos has. Every cue is a derivation of the two main themes. Nothing is by accident or arbitrary. The attention to this kind of score architecture is a rare thing these days. I'm so glad that Banos was given creative latitude to go nuts on this score. While it doesn't present anything we haven;'t heard before as far as orchestral fx (Xenakis, Ligeti, Crumb, Varese, etc pioneered them 50 years ago) it's how he's applied and married these techniques with his more melodic material that really cements this score as a strong piece. Frankly, I would LOVE to see this make its rounds next year at award time. It serves the picture beautifully which itself is a solid film making effort- barely any of the hand held crap we so too much of these days and the photography in parts is plain gorgeous. When was the last time a horror score got nominated anyhow? Much less win?
Goldsmith's The Omen? Williams' Jaws? I cannot recall. I know Goldenthal's Interview with the Vampire was nominated in 2005.
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I will add that I hope Gareth Edwards is open to someone like Banos scoring his Godzilla film next year. From all accounts, it sounds like a solemn, realistic tribute to the king of the monsters and whomever he goes with needs to respect Ifukube's similarly intoned original score.
Banos' imbued a poignancy and sense of pathos into a remake of a gorefest film from the '80s. This guy would do very well with Godzilla. Heck, his cue "Come Back to Me" is more emotive and emotionally charged than scores for most Oscar fare that have come out in the past few years. That says heaps about his compositional abilities and strengths.
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Great score. Movie was a little disappointing but good. The score brought back to me the belief that there are some new composers out there that know how to write and just do not sit behind a keyboard and stretch notes.
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Posted: |
Jul 30, 2013 - 11:13 AM
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By: |
dogplant
(Member)
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Live performance of a 12 minute suite.
https://vimeo.com/70786184
What a magnificent performance! "Evil Dead" is only my third Roque Baños score, after his wonderful "Machinist", followed by "Alatriste" which I still have not seen in context with the movie.
I must admit I was critical of the whole "Evil Dead" reboot idea, as I was a fan of the originals, so I was late coming to the party. As it turned out, the movie worked surprisingly well. I thought the filmmakers did a fine job of acknowledging the original, but it was its own beast, with some strong performances, particularly Jane Levy in the lead, and very effective scares. It was SOAKED in blood but somehow retained a sense of fun, without being as maliciously repugnant as other recent horror offerings. They played it straight, and with a sense of drama.
And holy heck that score. It was just a roller coaster on fire with a rocket up its rear end, whirling between completely bat-guano five-alarm insane, Grand Guignol operatic, and low-key tender characterization. The concert suite captured all of that, and señor Baños and the Orchestra de Córdoba gave a breathtaking performance. Really thrilling. Great music. A wonderful talent. Here's a GoPro podium shot:
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