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It was certainly interesting to listen to and those piano strings certain gave it a different quality (I've heard simialr sounds in a cue from "Star Trek: First Contact", a cue in "The Omega Man", and one or two from the seires "Buffy the Vamprie Slayer"), but like that recent Caldera release a Simonson score, it came and went and left no lasting impression; the theme is forgotten, I can't hum a lick, and I have no immediate desire to hear it again.
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Posted: |
Oct 22, 2014 - 1:05 PM
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By: |
Lokutus
(Member)
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finally!!!!
http://www.varesesarabande.com/servlet/the-1208/Homesman%2C-The/Detail
THE HOMESMAN
Music Composed by
Marco Beltrami
(3:10 to Yuma, Snowpiercer, Wolverine)
When three women living on the edge of the American frontier are driven mad by harsh pioneer life, the task of saving them falls to the pious, independent-minded Mary Bee Cuddy (Hilary Swank). Transporting the women by covered wagon to Iowa, she soon realizes just how daunting the journey will be, and employs a low-life drifter, George Briggs (Tommy Lee Jones, who also directed), to join her. The unlikely pair and the three women (Grace Gummer, Miranda Otto, Sonja Richter) head east, where a waiting minister and his wife (Meryl Streep) have offered to take the women in. But the group first must traverse the harsh Nebraska Territories marked by stark beauty, psychological peril and constant threat.
Oscar-nominated composer Marco Beltrami (The Hurt Locker) has composed a moving and beautiful score with delicate flavors of the setting and era.
Roadside Attractions will begin rolling out THE?HOMESMAN?on November 14.
Varese Sarabande Catalog # 302 067 317 8
Release Date: 12/09/14
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Great! I'll buy any CD with a "River Crossing" track in it.
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Some of those "instruments" they use are completely fascinating to me, but I just wish he was better at writing memorable themes. He's written some good ones, to be sure, but with the number of films he does a year, I rarely take away anything from them thematically. This is a bummer.
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Posted: |
Nov 13, 2014 - 7:53 AM
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By: |
Mike Esssss
(Member)
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Some of those "instruments" they use are completely fascinating to me, but I just wish he was better at writing memorable themes. He's written some good ones, to be sure, but with the number of films he does a year, I rarely take away anything from them thematically. This is a bummer.
I tend to agree with this, though I argue with myself sometimes about whether it's more to do with Beltrami or me. SOUL SURFER has plenty of themes which I can intellectually recognize as strong, but I've tried to listen to that score at least three or four times and it doesn't grab me. Same with KNOWING, a score that I really, really want to like and has Beltrami amping up the grandeur quotient much more than he usually does. Despite all that it doesn't engage me. But the thing is, I think he did exactly what he wanted to do with those scores. He clearly has a very cerebral approach to what he's doing. Maybe that's it. A lot of it feels clinical and leaves me cold. It's when the material works with that approach and not against it - scores like 3:10 TO YUMA, THE HURT LOCKER, SCREAM (though Sidney's Lament is lovely), and hopefully THE HOMESMAN which sounds promising - that I respond.
Regardless, I still get excited when he gets an assignment because he always has the potential to write something I'll love.
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I agree with both Mike and the Deputy, but if the climate of filmmaking is eschewing themes, I feel like there should be at least something to hang my hat on (did I just read someone else write that?). Something like KNOWING, which Mike mentioned, has some superb cues (that "New York" cue is essential if you're into non-threatening people watching), but even though I've listened to stuff like "Caleb Leaves" a million times, I can't begin to tell you how it goes.
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