Even now I return to it and don't find any work of Zimmer's that could be a companion piece.
Oh, I'm sure Zimmer's INCEPTION and THE DARK KNIGHT was a HEAVY influence on the sound of TRON LEGACY! (I could be wrong about INCEPTION because I read somewhere that the score was recorded before Zimmer's score.) With that being said Daft Punk and the rest of the TRON LEGACY music team took that sound and made it completely their own creating one of the most satisfying and thematically rich film scores of all time, IMO.
-Erik-
INCEPTION to my ears bears NOTHING to TRON LEGACY unless you count MIND HEIST which is Zack Hemsey's piece. The score for INCEPTION is constantly guitar heavy and moves back and forth from some very aggressive pieces to some rather haunting ones.
THE DARK KNIGHT however I can give you in a driving hero theme that TRON carries with it but the main theme of TRON heard in FATHER AND SON is quite somber and has quiet alot of emotion and is something you can hum.
I find TRON LEGACY to stand closer if anything with PRIEST in that both are clearly influenced or shall we say RESTRICTED in the Zimmer sound but manage to use electronics and orchestra in inventive ways.
With that being said Daft Punk and the rest of the TRON LEGACY music team took that sound and made it completely their own creating one of the most satisfying and thematically rich film scores of all time, IMO.
Even now I return to it and don't find any work of Zimmer's that could be a companion piece.
Oh, I'm sure Zimmer's INCEPTION and THE DARK KNIGHT was a HEAVY influence on the sound of TRON LEGACY! (I could be wrong about INCEPTION because I read somewhere that the score was recorded before Zimmer's score.) With that being said Daft Punk and the rest of the TRON LEGACY music team took that sound and made it completely their own creating one of the most satisfying and thematically rich film scores of all time, IMO.
-Erik-
INCEPTION to my ears bears NOTHING to TRON LEGACY unless you count MIND HEIST which is Zack Hemsey's piece. The score for INCEPTION is constantly guitar heavy and moves back and forth from some very aggressive pieces to some rather haunting ones.
THE DARK KNIGHT however I can give you in a driving hero theme that TRON carries with it but the main theme of TRON heard in FATHER AND SON is quite somber and has quiet alot of emotion and is something you can hum.
I find TRON LEGACY to stand closer if anything with PRIEST in that both are clearly influenced or shall we say RESTRICTED in the Zimmer sound but manage to use electronics and orchestra in inventive ways.
Yeah, I don't really see any similarities between Tron and Inception except for the "Bwoooooooaaaaaoowww!" horns sound which, as you said is mostly from the Inception trailer music anyways.
Oblivion and Tron have a new kind of hybrid sound that doesn't rely as heavily on percussion as the Zimmer Dark Knight stuff - they develop a melody and keep adding or stripping away layers (Disc Wars is a good example) kind of like John Carpenter does in his synth scores.
It's also nice to hear drum machines used in Oblivion in a kinda retro way.
I like that the use of synth in Oblivion is like the Goldsmith approach - they aren't meant to emulate the orchestra - they are meant to provide a sound or timbre unattainable by acoustic instruments. Starwaves being a great example.
Really liked the movie, and that was in no small part thanks to the music. It featured quite nicely in the film. Yes, it sounds like Zimmer, but doesn't just about everything anymore?
Finally planning on taking a date to see this on 5/8 - very excited! God knows I've all but memorized the score by now - it's extremely rare for me to have listened to any film score so much, certainly without having seen the movie beforehand!
If this is what the director always wanted for his "dream project," then he has very bad music taste. Seriously, this score is even worse than Zimmer's work. At least when Zimmer did Inception, it's sorta original.
Finally planning on taking a date to see this on 5/8 - very excited! God knows I've all but memorized the score by now - it's extremely rare for me to have listened to any film score so much, certainly without having seen the movie beforehand!
It's actually a great date movie. The chick next to me in the theatre totally lost it by the end of the movie. As with Tron Legacy - it's a satisfying emotional, meaningful finale.
It's actually a great date movie. The chick next to me in the theatre totally lost it by the end of the movie. As with Tron Legacy - it's a satisfying emotional, meaningful finale.
Really liked the movie, and that was in no small part thanks to the music. It featured quite nicely in the film. Yes, it sounds like Zimmer, but doesn't just about everything anymore?
Finally planning on taking a date to see this on 5/8 - very excited! God knows I've all but memorized the score by now - it's extremely rare for me to have listened to any film score so much, certainly without having seen the movie beforehand!
It's actually a great date movie. The chick next to me in the theatre totally lost it by the end of the movie. As with Tron Legacy - it's a satisfying emotional, meaningful finale.
I took my wife to see it over the weekend...and she didn't like it or "get" it. She even had the gall to ask me "didn't you think it was boring?"... Um...NO.
Saw the movie last Friday, and LOVED it - not at all what I was expecting, but in the very best of ways. The music was indeed effective in the film itself, but I think I actually prefer it independently of the movie - seems more emotive that way to me. Though listening to the score a couple more times does bring to mind certain scenes from the flick, overall, I think it's just slightly better as a standalone listen.
And there were only two short melodies during the film I didn't recognize, and I can only assume they're on the iTunes expanded score. I wonder if we'll eventually get a complete CD release...???
Either way, though Fernando Velazquez's Mama and Mike Patton's The Place Beyond the Pines were fantastic, OBLIVION is definitely my frontrunner for best score thus far in 2013!
Either way, though Fernando Velazquez's Mama and Mike Patton's The Place Beyond the Pines were fantastic, OBLIVION is definitely my frontrunner for best score thus far in 2013!
Can you tell me what Patton's The Place Beyond the Pines score is like? I always welcome your suggestions!
Can you tell me what Patton's The Place Beyond the Pines score is like? I always welcome your suggestions!
Sorry to cause a thread hijacking, but Patton's The Place Beyond the Pines is excellent, and easily one of my new favorites this year. Foreboding yet often lyrical. It owes a lot of debt to Ennio Morricone's non-Western movie musical stylings, as it even includes the beautiful cue "Ninna Nanna Per Adulteri" by Morricone (I am unsure at this time what film it is from) which was included on Mike Patton's Morricone compilation Crime and Dissonance. Also, the music in the film of Pines is used incredibly effectively. I've long thought Patton should get many scoring assignments, so I hope this one opens up his floodgate to the mainstream.
P.S. Oblivion is also, hands-down, one of my early favorites this year. It has an energy that a lot of Sci-Fi and Action/Adventure film scores lack recently, and a great main theme which pays off beautifully in the vocal song heard during the end credits.
For my money, this one-two track punch on the album is awesome, powerful stuff. From an exciting and propulsive action cue to a rousing statement of the main theme in the next track. Awesome stuff! Despite Anthony Gonzalez's less-than-happy results I still think he and Trapanese created a memorable soundtrack.
Can you tell me what Patton's The Place Beyond the Pines score is like? I always welcome your suggestions!
Sorry to cause a thread hijacking, but Patton's The Place Beyond the Pines is excellent, and easily one of my new favorites this year. Foreboding yet often lyrical. It owes a lot of debt to Ennio Morricone's non-Western movie musical stylings, as it even includes the beautiful cue "Ninna Nanna Per Adulteri" by Morricone (I am unsure at this time what film it is from) which was included on Mike Patton's Morricone compilation Crime and Dissonance. Also, the music in the film of Pines is used incredibly effectively. I've long thought Patton should get many scoring assignments, so I hope this one opens up his floodgate to the mainstream.
You guys may have had trouble finding the score's existing thread; the OP named it incorrectly. Here it is - this includes many other folks' thoughts on it as well as my formal review!
I finally got around to seeing Oblivion, I liked it quite a bit. I remember a comment someone made about it that it was like a big budget Twilight Zone episode and I pretty much agree. It's also an extremely beautiful looking film. I was actually much more entertained by it than Star Trek and Iron Man 3. The score is outstanding. I totally disagree with the contention that it is musical wallpaper.
