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 Posted:   Jan 21, 2014 - 12:32 PM   
 By:   Randy Watson   (Member)

Let the b*tching commence, Trent Reznor and Atticus Ross will score David Fincher's upcoming thriller Gone Girl

https://twitter.com/trent_reznor/status/425680863968256001

 
 
 Posted:   Jan 21, 2014 - 12:48 PM   
 By:   KeV McG   (Member)

I expect this to usher in a return to the more symphonic style that Williams revisited with Star Wars!!

 
 
 Posted:   Jan 21, 2014 - 12:50 PM   
 By:   Thor   (Member)

No bitching from me. I loved Reznor and Ross' work on both SOCIAL NETWORK and GIRL WITH THE DRAGON TATOO. Bring it on, I say!

 
 
 Posted:   Jan 21, 2014 - 1:18 PM   
 By:   MikeP   (Member)





big grin

 
 
 Posted:   Jan 21, 2014 - 1:24 PM   
 By:   Peter Greenhill   (Member)

Disappointing but life will go on.

Money saved!

 
 Posted:   Jan 21, 2014 - 1:27 PM   
 By:   Lokutus   (Member)

OK... more crap I won't be wasting my money on...

 
 Posted:   Jan 21, 2014 - 9:12 PM   
 By:   Mr. Jack   (Member)

 
 
 Posted:   Jan 21, 2014 - 10:11 PM   
 By:   joan hue   (Member)

Anyone else here read the novel? It was a fantastic mystery, and it won't be an easy novel to film. It would definitely need partial a romantic score, a love theme. Then the music would also have to pick up the tension of the mystery. I think a traditional orchestral score would best serve the narrative, and I would have pick James Newton Howard to score this story. But, I won't pass judgment on these current composers until I hear what they do with the movie. Maybe all will be well.

 
 
 Posted:   Jan 21, 2014 - 10:46 PM   
 By:   jb1234   (Member)

Anyone else miss the days when he worked with Howard Shore?

 
 
 Posted:   Jan 22, 2014 - 3:02 AM   
 By:   Thor   (Member)

Anyone else miss the days when he worked with Howard Shore?

No, not really, but I wouldn't mind another Goldenthal collaboration (hopefully more rewarding for Fincher than the last one).

 
 Posted:   Jan 22, 2014 - 3:13 AM   
 By:   The REAL BJBien   (Member)

Another buy for me!

One thing I do wonder and hope to get others to reply... did you really think the music in THE SOCIAL NETWORK and THE GIRL WITH THE DRAGON TATTOO really NOT WORK in the films that David Fincer and crew made?

I thought the work on THE SOCIAL NETWORK in particular was damn good and fit that film like a glove.

I also thought the music for DRAGON TATTOO was really effective and only did the floor waxing machine scene actually draw too much attention to the music and even then I found it to be clever.

Another thing I don't understand is people who complain about what it SHOULD have been when there wasn't really anything to think that Fincher didn't want exactly the scores that he wanted. He wanted scores that were very music like SOUND DESIGN and atmospheric and to those who actually gave them listens, yes! There are themes!

It isn't for everyone, that I understand and if you hate it AFTER listening or because it ruined the movie for you, then so be and I respect your opinion but all these negative comments seem to just "popular" instead of informed.

 
 
 Posted:   Jan 22, 2014 - 3:20 AM   
 By:   Thor   (Member)

We're on the same page here, Bijen, but I think the naysayers are less concerned about how the scores work in their respective movies as they don't particularly like the SOUND of the music in the first place. That's their prerogative, of course, but I think one should take the film's style and aesthetic into consideration when making these evaluations -- or at least specify that one is talking about the album and not the score as it works in the film.

Personally, I like the music both in and out of the film, but then again I'm a sucker for ambient/textural scores of this kind, with electronic elements.

 
 
 Posted:   Jan 22, 2014 - 7:19 AM   
 By:   MikeP   (Member)

Another buy for me!

One thing I do wonder and hope to get others to reply... did you really think the music in THE SOCIAL NETWORK and THE GIRL WITH THE DRAGON TATTOO really NOT WORK in the films that David Fincer and crew made?

I thought the work on THE SOCIAL NETWORK in particular was damn good and fit that film like a glove.

I also thought the music for DRAGON TATTOO was really effective and only did the floor waxing machine scene actually draw too much attention to the music and even then I found it to be clever.

Another thing I don't understand is people who complain about what it SHOULD have been when there wasn't really anything to think that Fincher didn't want exactly the scores that he wanted. He wanted scores that were very music like SOUND DESIGN and atmospheric and to those who actually gave them listens, yes! There are themes!

It isn't for everyone, that I understand and if you hate it AFTER listening or because it ruined the movie for you, then so be and I respect your opinion but all these negative comments seem to just "popular" instead of informed.



For me, Social Network was a complete failure. Start to finish the score failed to be anything ... failed as dramatic scoring, failed to be interesting ambient textures, it may just qualify as the sound design -pure sound - Fincher seems to have gravitated towards. After all, with Zodiac, Fincher kept David Shire at the level of sound design, as minimalist as possible. But for me TSN just kinda slides off the screen, not able to enhance the film at all. So to answer the question, yes I feel TSN score does not work whatsoever.

I love electronic scores as much as orchestral music, so it isn't a matter of an old stodgy fart just being a naysayer over synth work. I've been listening to electronic music since the 1970's . Everyone seemed to go bananas over Hall Of The Mountain King like it was some revelatory cover ... really? All I could do was roll my eyes. And this score winning an Oscar.... oh my God. big grin

Now ... with Dragon Tattoo, there was improvement. It isn't a score I enjoy particularly, but it seemed that the composers learned a bit about how to support visuals with their music. The music was actually contributing to the film. To answer the question... Dragon Tattoo works much much better than Social Network, however it is not a type of electronic music I enjoy.

Is it due to the generation gap maybe? Us old school electronic music fans are more used to Tangerine Dream, Vangelis, Schulze... these days is the trend - or maybe let me say trendy - approach is to be sound design as opposed to music ? These kids and their hip rumbly-bumbly electronics ! razz

I hope Gone Girl is even more of an improvement and shows more depth. Yes I miss the Fincher / Shore days ( Seven being Shore's best score to my ears, yes, more than any Hobbit music big grin ) but those days are gone.

To be honest... if Fincher did another carefully chosen and dynamic song score like Zodiac ( yeah I know Shire scored it, but the songs were very well chosen here and were VERY effective ) I'd be happy.

 
 Posted:   Jan 22, 2014 - 7:54 AM   
 By:   Mark Langdon   (Member)

I thought the score did work in THE SOCIAL NETWORK. It didn't deserve an Oscar, and it didn't really do anything for the film to take it to another level or anything, but it supported the film and wasn't distracting or out of place. But the kind of film this was, a wordy drama based on real events, didn't really need much from a score to support it.

I didn't think the score for THE GIRL WITH THE DRAGON TATTOO worked at all. It was just a random collection of snippets with no architecture, it did nothing to aid the tension, horror, drama or atmosphere of the film in any way, and indeed was counter-productive as this was the kind of film that does require an effective score to help it work. As it was, the film felt more lifeless than it could have done simply by having a more effective score attached that was composed by somebody who understood drama rather than by somebody who thought some riff they'd laid down while improvising was kind of cool. Quite frankly, it needed a Howard Shore score.

 
 
 Posted:   Jan 22, 2014 - 8:34 AM   
 By:   Ado   (Member)


I think that it could be that we are just starting to accept that we are going to get less from our new scores. Once we start to accept that then scores that we thought were minimal mood wallpaper scores years ago can turn into 'pretty good' when they are no longer compared against the no-longer steady tide of interesting new scores that we had before.

Unless the young composers are formally classically trained the rest of, or a lot of them, are just guys from bands or programmers without classic composition background, so that will form more and more the scores we will see/hear in films. IE Reznor.

 
 
 Posted:   Jan 22, 2014 - 9:02 AM   
 By:   joan hue   (Member)

It is interesting to see how varied our opinions are. I'm in total synch with Mark Langdon's assessments. The Social Network score worked for me. It is not one I'd want to listen to on a CD, but I thought it captured the isolation and coldness of the main character. The Tattoo score seemed like random noise not ever synched to the visuals or narrative and distracted me from the movie. Just my opinion.

I'm just hoping that Fincher requires a supportive score for this interesting story.

 
 
 Posted:   Jul 8, 2014 - 2:58 PM   
 By:   Randy Watson   (Member)

http://instagram.com/p/qNDpXgTPYv/?modal=true

Looks like Reznor and Ross will be using an orchestra for this one

 
 
 Posted:   Jul 8, 2014 - 2:58 PM   
 By:   Randy Watson   (Member)

http://instagram.com/p/qNDpXgTPYv/?modal=true

Looks like Reznor and Ross will be using an orchestra for this one

 
 
 Posted:   Sep 4, 2014 - 1:39 PM   
 By:   Randy Watson   (Member)

http://online.wsj.com/articles/david-fincher-turns-to-trent-reznor-and-atticus-ross-for-gone-girl-soundtrack-1409845014

Reznor and Ross discuss the score. Sounds promising

 
 
 Posted:   Sep 5, 2014 - 12:47 PM   
 By:   guyatkings   (Member)

We're a month away from the film's release and still no word about a soundtrack release. What gives?

 
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