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A preview of Remote Control's inevitable take-over of the Star Trek franchise.
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Which TRON:Legacy track was that? Oh, right, any one of them because they all sound the same.
Sure, any number of other composers could have written music for that movie. I'm sure there's some Carl Stalling you could shoehorn in there. Wise could have called Stanley Kubrick to needle-drop some classical cuts.
But that would not have led one of the greatest film composers in the history of the medium to write a personal best and a Top -10 or -20 score ever...
So think about what you want there: some knocked-off Jean-Michel Jarre, or a truly thrilling score of historical and artistic importance.
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That was really cool, thanks for posting!
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Posted: |
Mar 2, 2021 - 8:48 PM
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By: |
Solium
(Member)
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the Tron Legacy score is fine for what it is, some 'cool' sounds, some techno soundscapes, it was an assemblage with a lot of people involved, several composers and orchestrators, even though the package does not credit them. When people talk about Legacy as one of the greatest scores I think generously that they must be pretty young, or they must not listen to much music. On the scale of wall paper-ized scores that took off in the past 10 years or so it is one of the better ones, but that is it.
And, what Adm said
As an fan of orchestral music its one of those oddball scores I really like. While synth, there's themes and motifs. It's got energy and drive. Its atmospheric more than droning. Yes its a bit sterile but it fits the glossy visuals in Tron Legacy wonderfully. It's one of the better scores of its type.
Don't get me wrong Goldsmiths score for ST:TMP is grand and immersive. In every way the score is perfect and easily in my top ten favorite scores of all times. Guess I'm saying the perfect scores were written for their respected films.
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Posted: |
Mar 3, 2021 - 10:09 AM
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By: |
Ado
(Member)
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the Tron Legacy score is fine for what it is, some 'cool' sounds, some techno soundscapes, it was an assemblage with a lot of people involved, several composers and orchestrators, even though the package does not credit them. When people talk about Legacy as one of the greatest scores I think generously that they must be pretty young, or they must not listen to much music. On the scale of wall paper-ized scores that took off in the past 10 years or so it is one of the better ones, but that is it.
And, what Adm said
As an fan of orchestral music its one of those oddball scores I really like. While synth, there's themes and motifs. It's got energy and drive. Its atmospheric more than droning. Yes its a bit sterile but it fits the glossy visuals in Tron Legacy wonderfully. It's one of the better scores of its type.
Don't get me wrong Goldsmiths score for ST:TMP is grand and immersive. In every way the score is perfect and easily in my top ten favorite scores of all times. Guess I'm saying the perfect scores were written for their respected films.
yup, agree.
Someone should write a thesis comparing the original Wendy Carlos and the music for the sequel.
I believe the original score was quite influential on Daft Punk
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Thanks for posting this, Martin. Certainly an interesting experiment.
I think it subtracts, however, far more than it adds. There is no mystery to me, which I believe is absolutely essential to the beginning of this film. We don't actually yet know what this thing is, let alone that it's destructive. Using Daft Punk's score sets us up in a way that isn't yet earned, imo, and alerts us to something that the narrative actually originally unfolded far more organically and naturally. Just my opinion.
That said, I suspect you had a ton of fun doing it and my apologies for the many asshat comments on this thread where they weren't necessary. Par for the course, I guess. I think it's one thing to state why one doesn't think it works, but beyond that is just the typical armchair quarterback posturing.
Great job, sir. Lots of fun to contemplate, defend, or defend against.
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I don't agree that it works, but it is an interesting look at the difference between the state of films scores when many of us were becoming interested in them, to where things tend to be now. Younger fans probably prefer the simpler approach.
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I'm merely excising Goldsmith's entry while (heavily) assuming what Wise could have had in mind through what's presented, as he ascertained Daft Punk's approach, as well as how the clips were edited as they were, nor am I being critical of Punk's approach to TRON Legacy (which fit like a custom glove there). For those more thenthitive to such matters, avert thine eyes and submit all simplistic claims of "aawww BULLSHUYTE" to the suggestion box (or hit the Ignore option on me if you haven't already)...
Klingon attack: There's something about a persistently featured ostinato that limits the ways drama can unfold, which did this scene no favors, although I guess the foregone conclusiveness of it all does match.
Trailer title: This was actually cute. It speaks more of the generalized sci-fi tone of this Star Trek adventure than the individuals therein.
The Enterprise: The sense of the score's urgency subtracts from what was meant to be the majesty of the A refit, which indeed needed to harken the feelings of nostalgia of those wanting Star Trek for a decade's wait since the series's departure, though I do appreciate that urgency during Kirk's warning about V'Ger.
First warp: Again, the music prematurely infuses its urgency when the majesty was meant to overwhelm. They're not in danger yet, and to have the music suggest they always are... well, it's the whole "If everybody's cool..." dilemma.
V'Ger approach: This matched Spock's speech to be appropriately sullen, with the ethereal preamble also being suitable. But, as before, the constant ostinato gives no room for, or air of, mystery, even if it represents V'Ger's motif. The lighter end section also was premature and drew away from the overall sense of terror. It's like the middle and ending should've switched.
The probe: There's that terror in your face and ears. It works due to the build up and abrupt end.
Ilia 2.0: ... fascinating. Here's the air of mystery that was missing from before, subdued with that great hint of humanity peeking through, perhaps even the possibility of the love theme emerging.
Spock walk: The ostinato threatens to overwhelm Spock's intentions, but only almost. The interruptions help give the scene the foremost attention it needs to be effective. Initially, just before Spock enters, mixing his actions with V'Ger' "theme" does lend to his obsession and loss of self, but afterwards it did go on a bit too long, never varying with Spock's discoveries, as if the digital artifacts, V'Ger's history, and Giant Ilia were equal footnotes. The coda works to Spock's horror, but only if the midsection didn't build so evenly. There's more going on than the score will admit or allow.
"No answers": As the dread builds, V'Ger's revealed emptiness and confusion are made crystal clear, and I loved how the edits shift to form an inevitable pre-apocalypse among the crew, but then it ends up back where it started with the danger motif having already worn out its welcome like a repetitive joke.
Climax: As the kids are fond of saying, "OOO, TOO SOON!". There's unearned importance with V'Ger's introduction just as the mystery was still afoot, as if answering all the film's questions like a typical #2minutemovie trailer. The moniker melody has that spot on twist to it that was just right, not over or under the top. Reprising the "love theme" to its astral crescendo is probably one of the highlights of the video, although the resulting explosion and Enterprise flyby is where the edit falters rather than the music.
In conclusion, it's as if V'Ger composed this and, in essence, it is learning, becoming self-aware...
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