and he has some nice nods to Giacchinos Roar from the first movie
I'm not familiar enough with this score that anything's jumping out to me -- are you able to point out any specific examples?
(Also, did he even know that this would be a Cloverfield movie when he was scoring it? I know the stars didn't know it was until after it had been shot*)
*And then she got a call from Trachtenberg, who had some interesting news to share: She was going to play the lead role in a major franchise film — in fact, she already had. And the cat was about to claw its way out of the bag. "Dan called me literally an hour before the trailer came out and told me the title of the movie," Winstead remembers. - http://www.rollingstone.com/movies/news/10-cloverfield-lane-how-j-j-abrams-made-a-secret-sequel-20160309
Bear said in one of his recent interviews that he hadn't heard Giacchino's piece. Can't quite recall, but I think he also said he hadn't seen the film.
It is a solid orchestral action/horror score but I feel the theme is rather weak if one were to call six notes a theme. It has some complexities and more than we normally get in his other TV works but it still feels like the theme could have been more fleshed out than what we get which is really a glorified motif.
Bear said in one of his recent interviews that he hadn't heard Giacchino's piece. Can't quite recall, but I think he also said he hadn't seen the film.
He mentioned he didn't hear Roar because he got extremely motion sick while watching Cloverfield and didn't make it to the end credits.
I think this is Bear's best work to date actually. A solid scary/tense score that you can actually HEAR. It's not way below the sound effects for a change.
What a great fun score. And excellent liner notes, too, by Bear. Quite an epic story, and especially touching with the bookends about his daughter. Highly recommended.
The score is pretty solid as a whole (maybe too long as a release) but damn, that final track is something else. Hopefully this kicks off Bear's film career.
I've been playing this track on repeat since earlier today. It's a fantastic cue and I had to reflect why. The answers are continuity and development. McCreary first of all saves the real bombast for this final cue. It's something that seminal scores of yesteryear did all the time but in this modern age of ADD viewers (and filmmakers), it seems like every cue has to be the biggest, loudest, most dramatic piece ever composed. Not so with 10 Cloverfield. It actually has time to unfold and develop. There is a natural dramatic progression to this work that I haven't heard in ages from a Hollywood score.
The key to the success of this particular track is in its construction. Even though it goes through various moods and section changes, it still feels like the same piece, not an amalgam of ideas patched together. And it FLOWS! Each section pours into the next effortlessly, rather than abruptly switch gears with some awkward modulations or meter changes. The central 5 note motive is continuously recapitulated with harmonic variation or else orchestration variations. Regardless, it's a dynamic track, one of the best of 2016 and probably from the past few years in fact.
I'd heard good things about this score but didn't get around to listening to it until after I saw the film on Netflix and was mightily impressed with how up front the music was. The opening sequence indicates to the viewer that the score will figure in prominently to this story. And it doesn't disappoint.
