 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I preferred Basil Poledouris score , I found this score forgettable....very much like the film itself . I struggled to keep my eyes open to be honest .
|
|
|
|
|
|
I preferred Basil Poledouris score , I found this score forgettable....very much like the film itself . I struggled to keep my eyes open to be honest .
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
May 5, 2016 - 11:10 PM
|
|
|
|
By: |
Bob DiMucci
(Member)
|
Saw the film yesterday. It's the best of the 20 or so films I've seen so far this year. I also liked the score, especially the non-action parts. The action music is stanadard for today's films. But at least it doesn't grate on the senses like many such scores do. As far as the visuals go, the animals are done about as well as most CGI animals are done these days. But it was the backgrounds--the jungle, the water, etc.-- that really impress. You totally forget that absolutely none of it is real. It's all totally believable.
On another issue, I noted in the end credits, that in addition to a credit for Dolby Atmos, there was also a credit for "Fantasound." I figured there was a story behind that, and here it is (as reported in a Forbes article):
--------------------------------------------------------------
"Another fascinating moment during the press conference came when Favreau talked about his love of the film FANTASIA, and how Walt Disney's desire to put the audience in the middle of the orchestra sound led to installing multiple speakers all around theaters in a few select locations. That concept and the impact it had on Favreau personally led to a specific decision in how to approach THE JUNGLE BOOK. Favreau explained, “I remember when I was talking to my sound people and to my composer John Debney, I said, ‘Wouldn’t it be cool to explore what Fantasound [as the original Disney stereophonic sound was named] would be now?”
"THE JUNGLE BOOK credits actually refer to the film as using Fantasound, because it turns out the filmmaker’s desire to bring back the concept was far more doable than he might’ve first imagined it would be. “The sound engineer said, ‘Well, [Dolby] Atmos sound has that many speakers all around the theater. You use it for sound effects, there’s no reason you couldn’t use it for music,’ ” Favreau said. “[John Debney is] a Disney guy. He grew up on the Disney lot. He knew Walt, and he hung out with the [songwriting team] Sherman Brothers when he was a little kid. So he breathes Disney, he knows the culture, and he really leapt at the opportunity. So when we were mic’ing the orchestra, we isolated instruments when we could. And in the sound mix, Lora Hirschberg — who’s our music mixer — we tasked her in the Atmos mix with creating a Fantasound mix.”
"So in Dolby Atmos, Favreau adds, “[Y]ou will feel there are instruments that move around the theater, especially isolated instruments, like the flute as Mowgli’s running. So if you see it in a Dolby Cinema, you’ll experience a version of what we were trying to channel, which was Walt’s vision for this.”
---------------------------------------------------------------------
I wish I had know this prior to my seeing the film. I went out of my way to go to a 3-D showing. If I had known about this, I would have gone to the single Dolby Atmos theater in my multiplex instead.
|
|
|
|
|
|
|
Wonderful!!!!
Renews my faith in Disney (like INSIDE OUT renewed my faith in Pixar).
I have never liked John "Who do you want me to imitate?" Debney but this score was first -class.
Still, I doubt I will buy the cd. It is not in the same class oas Basil's JUNGLE BOOK
BRM
|
|
|
|
|
|
. But I thought Mowgli's character was very well written, and I like the over all dramatic tone of the film. Something you hardly see in family entertainment nowadays., all it was .
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Good new, the FYC CD contain 4 more score tracks (but no songs). The new titles are:
Avalanche
Adrift in the Swamp
Proper Introductions
Bedtime Story
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
