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 Posted:   Oct 2, 2011 - 5:25 PM   
 By:   Mark Langdon   (Member)

Wait a minute, when did Yor come back? This has certainly been an eventful night.

Ordered btw, along with DON'T BE AFRAID OF THE DARK and SOUL SURFER. Really looking forward to them all, but it's going to be a while until I get them.

 
 Posted:   Oct 2, 2011 - 7:16 PM   
 By:   Polty   (Member)

Just downloaded this from iTunes this afternoon and I'm really enjoying it. I love the way that Morricone's music has been integrated into Beltrami's. Just felt impatient as usual and had to have it right now but I will be picking up the physical CD once it's released. I love Beltrami's horror scores and it's good to have him back at it again!

Cheers!
Harry

 
 Posted:   Oct 10, 2011 - 3:16 AM   
 By:   DeputyRiley   (Member)

3 additional unreleased cues available at Marco's website:

http://www.marcobeltrami.com/audio.html

 
 Posted:   Oct 10, 2011 - 3:30 AM   
 By:   Talos   (Member)

Nice stuff after 2:10, Beltrami's The Thing 'Theme'.

I watched The Thing From Another World, and it seems Beltrami's Thing 'theme' is somewhat based on Tiomkin's theme which I heard during the opening titles of the 1951 movie. (great movie) Scared the shit of out me, when they opened that door, and The Thing is standing behind it.

Here you can hear the "breathing" idea mentioned earlier in this tread: 2:10 onwards. Quite epic and very memorable.

http://www.youtube.com/watch?v=M_4otvXAqxk

 
 
 Posted:   Oct 10, 2011 - 3:35 AM   
 By:   Simon Underwood   (Member)

I don't know why, and every instinct tells me I shouldn't be, but I'm ridiculously excited about this movie and the score (well, I know why I'm excited about the score)

 
 
 Posted:   Oct 10, 2011 - 5:25 AM   
 By:   Xalandar   (Member)

Well, the 3 unreleased cues are a nice addition. Does someone know how much music he wrote for this movie, and where can I add the new cues in the soundtrack? I like when it's in film order smile

 
 Posted:   Oct 10, 2011 - 11:00 AM   
 By:   nuts_score   (Member)

3 additional unreleased cues available at Marco's website:

http://www.marcobeltrami.com/audio.html


Thanks for the heads-up. I still don't have this one (too busy buying Cmiral's Ronin) but I just downloaded those additional tracks from his site.

Off-topic for discussion of The Thing, but I noticed Marco had some cues from The Sunset Limited which I promptly downloaded because I'm very interested in that score. Was there ever an official release of The Sunset Limited as a soundtrack album?

 
 Posted:   Oct 10, 2011 - 11:06 AM   
 By:   DeputyRiley   (Member)

Well, the 3 unreleased cues are a nice addition. Does someone know how much music he wrote for this movie, and where can I add the new cues in the soundtrack? I like when it's in film order smile

Marco wrote almost 100 minutes of score for the film, including a few alternates and bonus cues. The Varese release will contain 55 minutes of score.

Of the 3 unreleased cues, only "1m1alt The Monster" could be placed into film score order as an alternate to the opening CD cue "God's Country Music." The other two cues, "7m1 Monster Breath 60bpm" and "7m2 Thingamajig" are bonus cues, the former featuring a variation on the main thematic monster theme and the latter featuring variations on secondary motifs, but neither of these other cues are featured in the film.

Otherwise all cues on the CD are in film order! smile

 
 Posted:   Oct 10, 2011 - 11:12 AM   
 By:   DeputyRiley   (Member)

Off-topic for discussion of The Thing, but I noticed Marco had some cues from The Sunset Limited which I promptly downloaded because I'm very interested in that score. Was there ever an official release of The Sunset Limited as a soundtrack album?

There never was a soundtrack album release for The Sunset Limited, one of the last scores you'd ever expect to be released, not because of my opinion of it (which is relatively fond) but because of it's brief running time (17 minutes I believe) and unusual musical approach. The two cues on Marco's site are the closest to traditional scoring as you're likely to find for the project. The rest of the score is largely made up of ambient soundscape produced through sound effects and subdued chords.

The cue "Is That OK?" is certainly one of the most original approaches I've ever heard to film/TV scoring!

 
 Posted:   Oct 10, 2011 - 11:24 AM   
 By:   nuts_score   (Member)

There never was a soundtrack album release for The Sunset Limited, one of the last scores you'd ever expect to be released, not because of my opinion of it (which is relatively fond) but because of it's brief running time (17 minutes I believe) and unusual musical approach. The two cues on Marco's site are the closest to traditional scoring as you're likely to find for the project. The rest of the score is largely made up of ambient soundscape produced through sound effects and subdued chords.

The cue "Is That OK?" is certainly one of the most original approaches I've ever heard to film/TV scoring!


Damn. I actually appreciated Marco and Buck's approach to that one. I loved the HBO movie, as I had been a fan of Cormac McCarthy's play and couldn't think of two better contemporary actors for those two roles. I guess I'll have to be satisfied with those two cues. They are rather lovely.

Thanks for the feedback Deputy.

 
 Posted:   Oct 10, 2011 - 7:59 PM   
 By:   Mr. Jack   (Member)

I don't know why, and every instinct tells me I shouldn't be, but I'm ridiculously excited about this movie and the score (well, I know why I'm excited about the score)

I'd be a lot more excited about the film if there was a single review for it at Rotten Tomatoes by now.

 
 Posted:   Oct 10, 2011 - 8:01 PM   
 By:   mastadge   (Member)

I'd be a lot more excited about the film if there was a single review for it at Rotten Tomatoes by now.

But there is! http://www.rottentomatoes.com/m/the_thing_2011/

 
 Posted:   Oct 11, 2011 - 12:33 AM   
 By:   nuts_score   (Member)

That single review reminds me that there have been near-30-year intervals between "Who Goes There?" adaptations (1951 -- 1982 -- 2011). I'd say John Campbell spun quite a yarn to have been adapted 3 times over the course of a century.

 
 Posted:   Oct 12, 2011 - 5:09 PM   
 By:   Neilbucket   (Member)

This is a terrific score from Beltrami - I have been spinning it all day (it arrived yesterday from SAE). Love it so far - really opens up from the Morricone score, which is quoted a few times, and is clearly a Beltrami score (has his distinct voice). Thumbs up!

 
 Posted:   Oct 12, 2011 - 7:03 PM   
 By:   chadergeist   (Member)

I Think the title should be THE THING:ORIGINS or THE THING II: ORIGINS.

 
 Posted:   Oct 13, 2011 - 12:48 AM   
 By:   Lokutus   (Member)

btw, the movie is OK but not as good as I expected. Meeting of the Minds is definitely highlight of the movie - especially the moment full The Thing motif comes in. It all ends with direct quote of Morricone's The Thing End Credits. I suppose it was originally supposed to be scored with The Monster breath.

With some 105 minutes running time and some 95+ minutes of music it occasionaly felt a bit overscored...

 
 Posted:   Oct 13, 2011 - 6:37 AM   
 By:   Mr. Jack   (Member)

Reviews are looking pretty poor. frown

 
 Posted:   Oct 13, 2011 - 10:14 AM   
 By:   YOR The Hunter From The Future   (Member)

One thing is for sure, Beltrami score is very different from Morricone's.
It's much more violent and loud, while Morricone's is almost minimalist.
YOR is not saying this is a bad thing, just saying that the scores are quite different in concept.

 
 Posted:   Oct 13, 2011 - 10:49 AM   
 By:   WillGoldNewtonBarryGrusin   (Member)

One thing is for sure, Beltrami score is very different from Morricone's.
It's much more violent and loud, while Morricone's is almost minimalist.
YOR is not saying this is a bad thing, just saying that the scores are quite different in concept.


It reflects the taste in filmmaking then and now, I would suppose.

 
 Posted:   Oct 13, 2011 - 10:55 AM   
 By:   mastadge   (Member)

One thing is for sure, Beltrami score is very different from Morricone's.
It's much more violent and loud, while Morricone's is almost minimalist.
YOR is not saying this is a bad thing, just saying that the scores are quite different in concept.


It reflects the taste in filmmaking then and now, I would suppose.


I don't know. Carpenter's scores have always, to my recollection (not being an expert on his oeuvre), been fairly minimalist, and Morricone has always forged his own path and not always worked the way other composers were working -- hasn't he frequently been a composer of the record some tracks and themes to be rearranged by the filmmakers to fit the film later variety?

And Beltrami's scores, while modern and often aggressive, are rarely so in the same way as other composers of his own generation.

 
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