 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Interesting -- I haven't seen anything about this and I love westerns so thanks for putting it on my radar. I thought Bale was excellent in the 3:10 to Yuma remake, and he and the rest of the impressive cast look good in this.
Have you tried the Netflix western miniseries Godless? It is absolutely superb, and the music starts out somewhat promising and then just gets better and better as it goes on...I wouldn't say it has an old fashioned sensibility but it's earthy, acoustic and memorable, with a number of excellent themes for various characters and such that really stick with you after the film is over. I think it's my favorite score of the year, which was a huge surprise since I wasn't familiar with Rivera.
Yavar
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Yup, big Richter fan after listening to Taboo and The Leftovers. Now own 6 or so of his albums. Really like his stuff. Also love Westerns, so I'm hoping for good things from film and score. Good reminder.
|
|
|
|
|
|
Richter is no slouch and 'a new hope' for scoring (along with a few others). He became entrenched on my radar with his score for the devilishly good Tom Hardy series 'Taboo'. (The CD from that series is a treat). His contributions to the 'Black Mirror' series were also fantastic. His is the only music which stood out to me in 'Arrival'. I think that western will be in good hands, but in keeping with the modern trends to avoid thematic approaches, it very well may be minimalist and/or concentrating on 'atmosphere' rather than on the rousing old school style.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Score is available on Apple Music - had a first listen on the back of the Guardian review praising the score and I very much liked what I heard. It's quite dark and brooding but has a beautiful track at the end titled 'Never Goodbye'. Definitely need to have another listen.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Mark Kermode did a YouTube video on the score -- and gives information on the one-of-a-kind musical instrument, the Yaybahar, used in the score:
https://www.youtube.com/watch?v=p1t4EUXjVa4
which seems a bit like some of the instruments that Harry Partch used to create. Very interesting!
|
|
|
|
|
|
|
|
|
|
Must take a listen to this!
I am slowly building an obsession with Max Richter and his work.
Would you say it`s "classic" Max Richter? Or is it something different for him?
I'd need to defer to others as I have not heard his work before. I need to correct that!
|
|
|
|
|
|
|
 |
Posted: |
Jan 10, 2018 - 9:46 AM
|
|
|
|
By: |
acathla
(Member)
|
Instead this western will be scored by Max Richter. I don’t know much about this composer. I thought his score for THE LEFTOVERS was unique and interesting. I liked the use of On The Nature Of Daylight in ARRIVAL. Otherwise, I’m not familiar with his other scores.
There is a lot to explore but among his film scores check out THE CONGRESS. I loved his work on Tom Hardy's FX show TABOO, even if there isn't much meat on the album.
There is a glib remark to be made that if you've heard one Richter score you've heard them all, but I find his endless permutations of his post-minimalist style to be fascinating and enchanting. There's an identity and point of view that shines through his work and that's worth a lot. It's also, quite frequently, utterly gorgeous. That's worth a lot, too.
--------
You are so right! Yes, he (mostly) has the same "style" in his score projects, but that style is so amazing and such a pleasure to listen to that I WANT that same style for all his scores!
Some of his cues are very simple (like the Departure theme from The Leftovers), but it is so addictive and simply just very beautiful and I could listen to it all day.
Right now I am listening to his Black Mirror score from the Nosedive episode he did.
Again, amazing! It`s "classic" Richter, but you just never get tired of it!
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
? It will probably have a more minimalist score. (Still one can hope!)
