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Read the use reviews on AMAZON.
Many posters criticized the music.
Interesting. Younger people (I assume) just aren't used to hearing DRAMATIC scoring!
Times and taste change.
So it goes.
Brm
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Just finished the show. It's pretty good (and I absolutely LOVE the needle-drop approach here), but the "conspiracy" itself is rather lacklustre and un-exciting, so it kinda goes out on a low note. But hopefully, they'll manage to expand the mythology further in a second season.
Second season?
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Yes, I assume there’s going to be a second season? There are certainly elements that point in that direction.
I hope they write Cannivale out..can't stand his acting.
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I am really enjoying the series and the music. I don't have any problem with people who have a different opinion, but I am surprised to see some people actually seem to be angry over the "needle-drop" soundtrack.
For me, to have some of my favorite 1970s scores and composers accompany a huge movie star and top director in a major TV series is a real treat.
I have often wondered if some of the "old style" scores we love so much could have a place in today's environment. To see and hear how well Capricorn One, Andromeda Strain, Klute and other classics are fitting some of the sequences shows that they would totally work, given the right program and aesthetic.
Lukas
Have to say - I'm with Lukas on this one. I thoroughly enjoyed the guessing game as to what pieces were being used - plus I thought some of them fit the drama remarkably well. I'm also for bringing these pieces to new audiences via placing them in a new context. Thanks Sam.
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Posted: |
Jan 1, 2019 - 3:08 PM
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By: |
TominAtl
(Member)
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I just finished binge watching this show and Sam Esmail hits another out of the park. Though not quite as good as Mr Robot, this is a very compelling and well done show and expertly acted.
As far as the so called "needle dropping", I thought it worked great and instead of being "pretentious" or "lazy", I found many of the cues used extremely well, being carefully chosen to add either texture or irony to the scene, not to mention it's obvious that Esmail has a love for filmscores and is a definite nod and appreciation to the artists work he used, particularly those that are not well know outside of our niche circle.
Many cues I didnot know for what film it came from and had never heard or didn't recognize it, some I did recognize but could not remember for the life of me, and others I had not heard in YEARS from my own collection and made me want to revisit them: ie Shore's DEAD ZONE, Carpenters "Christine", and Morricone's/Carpenters "The Thing" to name a few.
Esmail is a very inventive and envelope pushing director. He creates and utilizes cool and unique shots and camera locations to enhance and develop a scene and he is able to draw out wonderful performances from his actors.
Bitch and whine if you want about not using an original score, but his deliberate and careful utilization of other artists cues, at least as used his films, work and work wonderfully.
8 out 10 for this show.
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I still think it was a novel and quite effective use of repurposed music, aptly chosen in most cases.'
By the way, my wife and I just binged through the HBO Amy Adams's series SHARP OBJECTS where the main title was various versions of Franz Waxman's theme from A PLACE IN THE SUN, both instrumental and vocal. Anybody know what the significance of this choice could be? (The series is terrific, by the way, a very slow burn but fascinating to the end.)
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