 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Horner just recently recorded his score to, The 33. A movie about 33 Chilean miners who were trapped for 69 days.
This hasn't been announced anywhere!
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
This shows you Hollywood film name changes.
Today it's "The 33".
In the 2000's it would have been "The Minors".
In the 1990's it would have been called "Trapped Beneath the Earth".
The 1980's would have seen a name like "The Chilean Minor Incident".
And so on. ;-)
|
|
|
|
|
|
This shows you Hollywood film name changes.
Today it's "The 33".
In the 2000's it would have been "The Minors".
In the 1990's it would have been called "Trapped Beneath the Earth".
The 1980's would have seen a name like "The Chilain Minor Incident".
And so on. ;-)
OK...
|
|
|
|
|
|
|
|
|
|
|
|
|
|
The film will be released in Chile on August 6th.
Oh great, a Chile-only Shittunes release???
|
|
|
|
|
|
|
 |
Posted: |
Jun 26, 2015 - 3:02 AM
|
|
|
|
By: |
Washu
(Member)
|
The director of The 33, Patricia Riggen talks about James Horner and the score.
Hm, isn't it a bit odd that he composed the score on the spot? I'm a bit confused I must admit.
Anyway, here is the director of the movie The 33 talking about Horner and the score.
- http://www.scpr.org/programs/the-frame/2015/06/24/43414/one-of-james-horner-s-final-collaborators-pays-tri/
Interview highlights:
How did you hear about James Horner's death?
I woke up in the morning and I got an email from one of the writers of 'The 33,' letting me know and apologizing. Then I got email after email. It's just unbelievable. It's very hard to digest that he's not around. I did talk about the flying with him, I have to tell you.
I told him I didn't like him flying — I've always thought it was really dangerous to fly private planes, and that's not what he did for a living. But it was his absolute hobby and he said it was one of the things he loved most. So when I heard the news and they weren't sure it was him, I just knew it was.
It sounds like you became very close with him during the making of this film.
James was a very loving man. He told me that he had become very picky about the movies he makes, and he didn't score many movies any more. He just wanted to make movies that he really cared about, and he wanted to make 'The 33' because it moved him profoundly, he told me.
I discovered that was true because we would sit together in the recording room every day, and I would see him cry when we reached certain moments in the movie. It was something that really touched him.
How was the collaboration with him different from working with other composers?
All musicians are artists and they're all very eccentric and live in their own worlds, but James was particularly a special guy. He's very shy and quiet, almost feminine — he spoke very softly. He was just a huge talent.
What's very different about working with him is that I was sitting by him when he was composing the score, the entire time. So it's not that he went away and came back — he was really doing it with me. He was creating the music and we had the musicians in the room and he was making it right there. He described it as painting, a picture, using the colors in the moment.
That is definitely not the usual process between director and composer. How did that come about?
That totally was his idea. I was a little nervous, because I wasn't going to be able to hear anything before we actually got to the stage to record, but we were using such special instruments that that was the way to go.
He flew in the most brilliant flautist in the world — the guy's from Britain and he brought a humongous amount of Indian flutes — long ones, tiny ones. Remember the famous Ennio Morricone score for 'The Mission?' That's the same guy who played those flutes back then, and it's the same guy who played the flutes in 'Braveheart,' which James composed.
We had all these great musicians in the room and we were recording at the same time, so when he finished composing we basically had the score recorded.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
How do we know it's music from The 33 as many of these trailers use stuff from other movies etc. Is this truly from The 33?!?!
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Aug 15, 2015 - 7:08 PM
|
|
|
|
By: |
fvasquez
(Member)
|
Just coming back from the theater (yes, I'm chilean) and I came immediatly here to give you some information about the score.
First a few lines about the film. I think international audiences will be more engaged with this, for me at least it was just a surreal experience, seeing Chileans speaking english and so on. Not a great film, but it has some good scenes. Also it's weird for me to see our former Minister of Mining (Rodrigo Santoro's character) as the hero of the movie, since this politician is now being prosecuted in the middle of a financial and political scandal. I just can't separate the politics behind with the story itself. But that's just me.
Let's better talk about the score. As we know, Horner worked again with Tony Hinnigan and his great array of wind instruments, giving the score a complete taste of music from the Andes (I heard quenas and pan flutes). The main theme is a simple but beautiful piece that comes back through the film, more like a motif than a fully developed theme. It's on the opening credits played by Finnigan's quena and a guitar. The end credits gives another great rendition, first with the quena solo, but then goes to the strings (I think it's the only time) and I found it really beautiful to close the film.
There's one action cue in which Horner goes back to a sound that he's used a lot in the past, like a pattern of pan flutes in the background with a pulsating sound. Check the first seconds of "Alfred, Tristan, The Colonel, The Legend" from "Legends of the Fall" and you'll know what I'm talking about (https://www.youtube.com/watch?v=mSbHtJwHBps). That cue also uses strings to build up to the moment in which the mine collapses.
So, this work is mainly flutes and soft percusion from the Andes, guitar and strings. You won't hear bronzes, choir or vocal soloists, also no piano. I'm not sure if there's any score similar to this in Horner's filmography, but you can hear some ideas from previous works. Not a lot of music, but surely enough to fill a CD release.
Also important to note that NONE of the music used in the trailers are from Horner's score. It sounds totally different.
It's a nice little score by Horner, which he orchestrated himself along J.A.C. Redford (at least it was credited that way). If you have questions I'll try to answer as good as I can.
Cheers.
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
