The scoring sessions for upcoming James Mangold western 3:10 TO YUMA, starring Russell Crowe and Christian Bale, will start next week in London. Hope to have more info about this one soon.
Any of European filmmusic celebrities invited to the sessions?
Cool, i love Beltrami stuff, and Western films. I've recently been getting more western scores with Goldsmith's stuff, too. The cast looks great, i am a big Bale and Crowe fan, so hopefully the film will be worth a watch too. Actually looking forward to the film and the score for once. Just need a nice long score album at the end of it.
Not a fan of Beltrami, was unimpressed with the other Western score I've heard of his, don't think James Mangold has made a film that was more than okay. Only interest in the project is from Bale and Crowe.
Oh, for heaven's sake WHY? And no one here realizes this is a remake of a really fine Delmer Daves western entitled - wait for it - 3:10 To Yuma? That film features a score by George Duning and it's a fine one.
I'm sure the new version of the film will have loud sound, whooshing camera pans, unintelligible mumbling from Mr. Crowe and Mr. Bale in the style of today's "actors" and loud thumping music. A plus, though, is I'm sure it will have some horses.
Remakes or otherwise, one thing that is saddle-sorely lacking in recent westerns is great horsemanship. One of the wonderful things about vintage westerns is the incredible riding that goes on. It's especially fun to watch some of the B westerns where the second tier players do their own (often VERY fast) riding. Most of the westerns made in recent years are just sloppy, muddy, scruffy affairs with actors wearing big muddy chaps.
As for 3:10 TO YUMA, I'll take Heflin, Ford and Dunning any day of the week. Oh, yeah, and Frankie Laine!
Not a fan of Beltrami, was unimpressed with the other Western score I've heard of his
Which one is that? If it is "The Three Burials of Melquiades Estrada" then we're talking apples and oranges here. Also, for me, IDENTITY went past OK to really good.
What are you talking about? Have you heard Hellboy? The thing's filled with them. There's themes for Liz Sherman, Rasputin, and even Hellboy himself. But since when has the quality of a score been predicated on leitmotifs anyway?
What are you talking about? Have you heard Hellboy? The thing's filled with them. There's themes for Liz Sherman, Rasputin, and even Hellboy himself. But since when has the quality of a score been predicated on leitmotifs anyway?
Hey, I was just making a joke. I don't know much of Beltrami, but I do know that melodies are not his strong point (at least based on the scores I've heard). And the quality of a score can depend on a melody.
I really don't know how Duning's haunting score will ever be replaced by another score of equal excellence. Speaking of horsemanship, Glenn Ford was considered by many stuntmen and rodeo riders to have been one of the greatest horsemen in Hollywood!
Duning's score was absolutely marvelous. Required more sombre music than many westerns at that time because of its subject matter. Man overcoming the odds, both from human elements (Glenn Ford and his gang) and natural elements (drought and the potential for crop failure). I don't have a lot of hope for a Beltrami score that can pull the weight that Duning's did. Can't be loud and intrusive.
Oh, to think what Goldsmith would have done to take us back to his western scores of the '60's and '70's. Even Alan Silvestri might have come up with some possibilities. I liked his score to The Quick and the Dead. And then, there is even Broughton. But Belatrami? We'll see. I will try to keep an open mind.
Hey, I was just making a joke. I don't know much of Beltrami, but I do know that melodies are not his strong point (at least based on the scores I've heard). And the quality of a score can depend on a melody.
Eh, I'm very protective of my Beltrami. While his scores may not primarily focus on melodies, he can write them. I, Robot is another example and features an interesting main theme played with some bizarre electronically-altered strings -- granted though he had 11 orchestrators on the project.
All I'm saying is that he can write one hell of a theme when he choses to.
Some of you act as if Beltrami is rescoring the original film. I'm sure the film isn't an exact replica of the original. It probably has been 'modernized' in some ways. Why not treat it like a new film and see how it comes out? Obivously the director chose him for a reason.
While his scores may not primarily focus on melodies, he can write them. I, Robot is another example and features an interesting main theme played with some bizarre electronically-altered strings -- granted though he had 11 orchestrators on the project.