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I love Burwell. Has he done a big big epic blockbuster film like this before? I'm excited for what he may do. I hope it doesn't turn into an Air Force One when they had Randy do the score, then it was replaced at the 11th hour. 
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Posted: |
Apr 21, 2013 - 8:56 AM
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By: |
mastadge
(Member)
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I love Burwell. Has he done a big big epic blockbuster film like this before? I'm excited for what he may do. I hope it doesn't turn into an Air Force One when they had Randy do the score, then it was replaced at the 11th hour.
He hasn't really, but listen to selections from Rob Roy, Howl, the latest Twilights, Burn After Reading, The Jackal, A Knight's Tale, Gods and Monsters, Conspiracy Theory . . . he has what it takes. I think he'll really knock some people's socks off here.
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And as for the question of whether Burwell will be replaced -- let's look at Marvel Studios' history as a production entity. All of the composers that have scored them were not replaced at the last minute.
"Punisher: War Zone" had a score replaced, after the film was done (as well as replacing the director).
The first "Thor" was originally going to be scored by another composer. I have no idea when that change happened.
Plus, we don't really know sometimes until years later, that a score was replaced. Also, their movies, according to IMDb, only date back to 2007, so it's not a long history and respectively, not a long list of films (if you minus TV series and animated direct-to-video features). Before that they made two animated video projects and the TV series "Mutant X".
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The first "Thor" was originally going to be scored by another composer. I have no idea when that change happened.
How's so? Since the moment that Branagh was chosen to do the first film, it was obvious that Doyle was going to score it.
Ilan Eshkeri said in a couple interviews (that I saw), he was going to score it. Perhaps another director was attached. Perhaps Doyle was booked and Branagh had to find somebody else.
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Patrick Doyle's score wasn't terrible. I especially liked the track "Letting Go". However, it kind of failed to establish an exciting or memorable theme for THOR. For a hammer-wielding god associated with thunder and lightning, I expected something on the Basil Poledouris level, but I guess that was wishful thinking. I'm excited to see Carter Burwell getting a chance at it. In addition to action queues, I hope the film allows for a some good piano moments, which Carter seems very good at.
Exciting and memorable theme? Failed? Watch the end credit sequences flight through space, up to the title card. I damned near wept in the theater.
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Posted: |
Apr 24, 2013 - 11:39 PM
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By: |
adamtrons
(Member)
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I especially liked the track "Letting Go". However, it kind of failed to establish an exciting or memorable theme for THOR.
Funny that you mention to like the cue Letting Go, and you say that there's no memorable theme for THOR. When that cue is practically his theme being played emotionally (same at the last two minutes of The Compound).
I’m just saying that aside from one or two tracks, the score as a whole was forgettable and I've had no desire to revisit it in the past two years. For a hammer-wielding god associated with thunder and lightning, I expected something more epic and memorable. A quick view at Amazon.com shows reviews titles such as "Very mediocre", "We said THOR not BORE", "Sad, so Sad", "Doyle, Dumbed Down", "Lacks Asgardian Flare". So I know I'm not alone in my opinion. I'm happy to see Carter Burwell be given a chance.
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As I recall from an audio interview (or maybe it was video) of Doyle, the problem with his score was due to the director telling him what not to use and to go lower, darker, and not necessarily studio interference.
Assuming Burwell isn't backed into a musical corner like that with Alan Taylor, he should be free to do his own thing.
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