I remember reading Doyle said his kids thought his new style - for THOR and RISE OF THE APES - was 'sick', so he's down with the kids and we all know that's all that matters these days. I think scoring those two - and to a lesser extent BRAVE - in that style have put him on the radar more than he's ever been. As Remote Control style scores go, I think THOR and APES are two of the finest I've ever heard!
I especially liked the track "Letting Go". However, it kind of failed to establish an exciting or memorable theme for THOR.
Funny that you mention to like the cue Letting Go, and you say that there's no memorable theme for THOR. When that cue is practically his theme being played emotionally (same at the last two minutes of The Compound).
I think we have a different definition for what a theme is as opposed to a motif. Most of what passes for themes these days are short enough that they should more accurately be called motifs. To me a theme properly developed goes on for a few bars, like say the theme for Space Brothers the anime. A good theme can be partially stated in one part and then fully stated elsewhere in the score but is still recognizable as being that theme. If such themes are written for these scores, they are not given a full statement.
Just look at the full statement of Captain America's theme in the march. I would expect to hear a full statement multiple times throughout the score with slight variations but instead Silvestri uses it more as a motif.
I especially liked the track "Letting Go". However, it kind of failed to establish an exciting or memorable theme for THOR.
Funny that you mention to like the cue Letting Go, and you say that there's no memorable theme for THOR. When that cue is practically his theme being played emotionally (same at the last two minutes of The Compound).
I think we have a different definition for what a theme is as opposed to a motif. Most of what passes for themes these days are short enough that they should more accurately be called motifs. To me a theme properly developed goes on for a few bars, like say the theme for Space Brothers the anime. A good theme can be partially stated in one part and then fully stated elsewhere in the score but is still recognizable as being that theme. If such themes are written for these scores, they are not given a full statement.
Just look at the full statement of Captain America's theme in the march. I would expect to hear a full statement multiple times throughout the score with slight variations but instead Silvestri uses it more as a motif.
I agree with Sirusjr. I hear small motifs or lei-motifs in certain scores, but fully developed and extended themes are different than motifs. I'm hoping some of the scores for upcoming movies will have full themes.
