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http://instagram.com/p/qNDpXgTPYv/?modal=true Looks like Reznor and Ross will be using an orchestra for this one That's good. I know they have volumes of experience with writing for real musicians. not. Thankfully, they don't have experience. They do it their own way. Much more exciting. No, someone like Elliot Goldenthal using the electronics and acoustic musicians for HEAT was exciting.
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Sorry, double post.
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"Gone Girl marks the third soundtrack collaboration between Reznor and Ross with Fincher, a synthesis of cinema and sound that's starting to prove as fruitful as those of Alfred Hitchcock and Bernard Herrmann, Sergio Leone and Ennio Morricone, or Akira Kurosawa and Toru Takemitsu." . Wow that's a stretch.
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Like a drunk with a lamp post: they're using their jobs to support themselves, instead of to illuminate. I've never heard this expression before, but I love it so very much.
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Very different from the previous collaborations. More melodic, at times IMO Vangelis-like, but the "elevated music"-vibe that Fincher wanted has been incorporated with gleeful satire. A very interesting and unusual approach to a thriller score. I like it.
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Posted: |
Sep 30, 2014 - 5:53 PM
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By: |
nuts_score
(Member)
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For anyone interested, here are my casual first impressions on the music at my blog, Movie Music Musings. After I see the film, I'll go back and write a more extensive review of both the film and the score: http://moviemusicmusings.wordpress.com/2014/09/25/now-streaming-on-npr-trent-reznor-and-atticus-rosss-gone-girl-my-first-impressions/ I like your comparison to Shore's recent Maps to the Stars! I love it, in fact, as it is very keen. Of course, Shore's stylings are infinitely more complex because Shore is a more complex musician if only for his early work with jazz and his orthodox musical composition. But what Reznor & Ross have done in Gone Girl is very much in tune with what their work has been. A darker shade of Brian Eno, I always relate it as. Fittingly, if you blindly disliked those scores then one would continue that trend. Or even if you simply didn't like them, this one won't change the favor. The Blu Ray documentaries about the musicians working on the scores for The Social Network and The Girl with the Dragon Tattoo can really provide an insightful look into their processes and what it means for the two to collaborate with something like a Moog or onwards and outwards onto different instruments like guitar, dulcimer, and Reznor's handmade swarmatron, as well as others. One thing which I hope will prosper in film music criticism (if there truly is a thing), is an approach to the conversation that there are many different film composers throughout history, and there will continue to be. Being that they are different, we cannot automatically discount them only because they do not draft a traditional score on a page, but rather embrace the fact that all facets of music CAN and WILL work in films of all shapes and sizes. So thank you for embracing that, Pedestrian Wolf, on your blog as well as on this forum.
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