The trailer makes this look like a carbon copy of the original, a simple remake. There's no incentive to see this at all. Now that may just be a badly cut trailer, but ... just no interest.
As much as the original is a brilliant horror classic ( for me) that can't be equaled and doesn't need a "prequel " ... let me be a heretic and say hey, how about they use some CGI to replace the final big ass Blair monster at the end...which never really looked good at all ...
But I can't wait to hear this Beltrami score... hopefully he does homage the original two note theme and the electronic beat theme - and being Beltrami, he'll have some of his own fiendish touches
and being Beltrami, he'll have some of his own fiendish touches
When I spoke with Marco recently he told me he created a motif for the monster that utilizes the full orchestra like a breathing organism. The music expands to a full use of the orchestra then contracts. Very much looking forward to hearing it when it's released.
Sounds like he`s really into it... sounds creative.
"In order to make it authentic, we had to infect each member of the orchestra with a deadly virus... to coax that little extra sincerity out of them..."
When I spoke with Marco recently he told me he created a motif for the monster that utilizes the full orchestra like a breathing organism. The music expands to a full use of the orchestra then contracts.
This is done in a glissando manner, which is very effective. The music slides up or down as the full orchestra transforms into the single note...back and forth. It really is something, remarkable in its simplicity but quite creepy, and at times quite powerful and epic in its thunderous application.
The opening cue starts out with a wind effect (mirroring the opening of Carpenter's film) which also features a unique wind effect statement of the aforementioned glissando "breathing" motif (the blowing wind "breathes"). The end of the opening cue trails off with a statement of the electronic pulse motif that also opens Carpenter's film (this homage is also featured a few other times in the score).
1. God’s Country Music (1:27) 2. Road To Antarctica (2:41) 3. Into The Cave (:39) 4. Eye Of The Survivor (2:25) 5. Meet And Greet (2:55) 6. Autopsy (3:08) 7. Cellular Activity (1:32) 8. Finding Filling (3:25) 9. Well Done (1:32) 10. Female Persuasion (4:51) 11. Survivors (3:28) 12. Open Your Mouth (4:20) 13. Antarctic Standoff (3:03) 14. Meating Of The Minds (4:28) 15. Sander Sucks At Hiding (2:22) 16. Can’t Stand The Heat (2:10) 17. Following Sander’s Lead (2:39) 18. In The Ship (2:39) 19. Sander Bucks (:45) 20. The End (2:33) 21. How Did You Know? (2:29)
My hopes are that it doesn't only contain a bunch of stingers and 'sneaking-around' music, but actually has some of that 'delicious darkness' that Beltrami does so well (a la MIMIC).
My hopes are that it doesn't only contain a bunch of stingers and 'sneaking-around' music, but actually has some of that 'delicious darkness' that Beltrami does so well (a la MIMIC).
Me too, but after stuff like Don't Be Afraid of the Dark and The Omen I think Beltrami has firmly established himself a musician more interested in moodiness and atmosphere (a la Christopher Young) rather than cheap scares.
Does Marco use the Morricone tune at the end of the film to lead into the 1982 film?
That would be so awesome if this new films ends with the pulse beat and then the two note motif as the dog runs off into the snowy horizon with a chopper chasing it.
