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The trailer for the upcoming GODZILLA movie uses Ligeti's Requiem, which works so well I wish the entire score would be composed along such lines.
In any case, the trailer sure looks good, looks much much more like Mighty Godzilla than the Emmerich Jurassic-Zilla. http://www.youtube.com/watch?v=vIu85WQTPRc
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I'll be happy if this score sounds anything like Desplat's Nid De Guepes
-Erik-
Agree 100%. Some of the suspenseful moments in NID evoke the spirit of the Ligeti passages in the trailer.
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I'll be happy if this score sounds anything like Desplat's Nid De Guepes
-Erik-
Thanks for bringing attention to this score Erik. Doesn't look available for DL on iTunes sadly...
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Nid De Guees is one of my favorites from Desplat. Especially because of the choral material and because it was a precursor of Hostage (which it was directed by Emilio Siri too) and Firewall.
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Really looking forward to this. The trailer persuaded me even to anticipate the movie with unexpected joy.
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Wow, Desplat is really an animal. Kudos for his stamina.
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Posted: |
Mar 16, 2014 - 8:59 AM
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By: |
Maleficio
(Member)
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Conrad Pope:
Alexandre Desplat's score to GODZILLA is "done and dusted"--- at least as to the score's recording! Wonderful times with AD and the L.A. scoring musicians ( about a 102 of them-- perhaps the largest orchestra EVER at MGM(Sony) PLUS an 80 voice choir) who performed Desplat's score brilliantly. On the the soundtrack from Watertower Records you will be hearing AD's music and the LA musicians ROAR. With this score, AD proves he's as big an "energy drink" as any of the Hollywood "super composers"-- even if his vocabulary is distinctly his- perhaps refreshingly so, for some. Happy to be "working at home"-- kudos to Dennis Sands, Belinda Broughton, Adam Michalak, Dimitrie Leivici. Eric Swanson, and my associates Clifford J. Tasner, Jay Duerr, Chad Cannon, and my wife Nan Schwartz for their help in realizing, for the orchestra, 2 hours of music. Special thanks to the Godfather of the MGM/Sony lot Lee Hinton for making the lot a home. Great gratitude to all at WB--- Paul Broucek in particular.
As a professional, it gets no better than working with Desplat ( and Lee!). If your job is to "make music"- than AD is the "go to guy" (unless you're talking JW)
! Hope AD returns to LA. It was a blast. Now on to something even more exciting--- at least for me...
The brass was amazing for the most part. We recorded them in "stereo"-- 2 Trumpets, 3 Trombones, Tuba( cimbasso) , 4 Horns (Tubens) on the Left, a mirror image of that on the right. Quite thrilling-- happy it proved effective.
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Hope for every Silver Age-loving, MV-bored fan who ever feared that big blockbusters don´t get any big melody-driven orchestra score green lighted anymore.
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Posted: |
Mar 16, 2014 - 9:58 AM
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By: |
Maleficio
(Member)
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Comments from people who worked on the score
Dennis Sands : This score has been an amazing project to work on. The writing, orchestration, and playing is nothing short of stellar. Additionally, to be able to record this music at Sony Scoring, certainly one of the 2 or 3 best rooms in the world, has been an added treat. Then to mix at both Warner Bros. and my own room in Santa Barbara ... it just doesn't get any better. Thank you to everyone involved including the crews at both Sony and Warners.
Conrad Pope : I agree with each and every word of Dennis' post. All I would add is: music this hard shouldn't be so much fun to work on- but that's due to the OUTSTANDING stage and stage crew at Sony and Peter Rotter's orchestra. Recording in L.A. can be a blast- there should be more of it.
Cecilia Tsan: It was such an incredible treat to record Alexandre's music. His artistry and high standards really give sense to what we have been doing all our life. Merci, Alexandre, Conrad, Dennis and many more!
Belinda Broughton: Working with you and Alexandre is a rare treat all round Conrad. Aside from the terrific score, you and AD have great onstage choreography
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