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Posted: |
Dec 6, 2009 - 1:35 PM
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By: |
ahem
(Member)
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I find it really weird how Tony Scott film scores were so engaging, catchy, often thematic and (as is the case here) artful in the 1980s. I don't think I am alone when I say I could never sit through a score to one of his 1990s/2000s films on CD (and I find them barely servicable in his movies). Kamen's Last Boyscout might be the exception here, as well as parts of Crimson Tide, whicxh plays to my ears as a hilarious McDonald's Happy Meal parody of Doldinger's Das Boot and Poledouris' Red October. Maybe Revenge as well?
Artful, intelligent and dark ambient/avant guarde droning from synth pioneers Rubini and Jaeger on The Hunger. Some very competently arranged Schubert (also used in Barry Lyndon, which the Hunger seems rather indebted to visually as well), supervised on this film by Howard Blake. I wonder why the Scott Brothers didn't just have Blake orchestrate classical music for the scores of their movies since? I wonder why the Blake association disappeared so quickly after this and The Duellists.
How did Jaeger and Rubini become involved with The Hunger, and why have they not scored any other Scott movies? As far as avant guarde, ambient scores go I think they excelled at this genre. It's also a really arty score; almost like a late Kubrick film (and again you wonder about the aspirations with the adapted Schubert also used in Lyndon too).
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I find it really weird how Tony Scott film scores were so engaging, catchy, often thematic and (as is the case here) artful in the 1980s. I don't think I am alone when I say I could never sit through a score to one of his 1990s/2000s films on CD (and I find them barely servicable in his movies). Kamen's Last Boyscout might be the exception here, as well as parts of Crimson Tide, whicxh plays to my ears as a hilarious McDonald's Happy Meal parody of Doldinger's Das Boot and Poledouris' Red October. Maybe Revenge as well?
Artful, intelligent and dark ambient/avant guarde droning from synth pioneers Rubini and Jaeger on The Hunger. Some very competently arranged Schubert (also used in Barry Lyndon, which the Hunger seems rather indebted to visually as well), supervised on this film by Howard Blake. I wonder why the Scott Brothers didn't just have Blake orchestrate classical music for the scores of their movies since? I wonder why the Blake association disappeared so quickly after this and The Duellists.
How did Jaeger and Rubini become involved with The Hunger, and why have they not scored any other Scott movies? As far as avant guarde, ambient scores go I think they excelled at this genre. It's also a really arty score; almost like a late Kubrick film (and again you wonder about the aspirations with the adapted Schubert also used in Lyndon too).
I probably don't have to say that I disagree concerning Scott in the 90s/00s. Days Of Thunder, Crimson Tide, The Fan and Enemy Of The State are top-notch scores, Revenge, True Romance and Spy Game are good too. Man On Fire and Last Boy Scout aren't too good and the other ones I'm not familiar with.
I also have to remind you that there were lots of synths in the last 30 minutes of Hunt For Red October.
I have not seen/heard The Hunger, and I'm not familiar with Jaeger at all, but I love what Rubini did in Manhunter.
To have Howard Blake "orchestrate classical music for the Scott brothers since" would surely have been highly unwanted, at least for this listener!!
Jaeger hardly wrote anything after The Hunger, and Rubini went to TV land after Manhunter, so no wonder why Tony Scott didn't hire them again. Already in 1986, Harold Faltermeyer was a far bigger name, so I doubt Scott considered Rubini for Top Gun.
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Ooohhh... brutal... :-D
I saw Hunt For Red October only a couple of weeks ago, and I found the synth stuff rather cheap-sounding and demo-like, almost like they ran out of money for an orchestra to score the last 30 minutes of the film. On the other hand, it was of course quite refreshing to hear synths instead of the old-fashioned orchestra.
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bump
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I also have to remind you that there were lots of synths in the last 30 minutes of Hunt For Red October.
The real reason for this is because the studio didn't want to pay for another orchestra session, so Basil had to record the remaining cues electronically.
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Looks like Freshy was right!
Aint I always...
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Ooohhh... brutal... :-D
I saw Hunt For Red October only a couple of weeks ago, and I found the synth stuff rather cheap-sounding and demo-like, almost like they ran out of money for an orchestra to score the last 30 minutes of the film. On the other hand, it was of course quite refreshing to hear synths instead of the old-fashioned orchestra.
Really? Cheap and demo sounding? And Faltermeyer is aces ?
I didn't say it was bad. But I don't think it had the power and energy of a Faltermeyer score.
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