Feels like you're damning this score with faint praise. And I say this as a massive fan of Beltrami and his colleagues (Trumpp, Torjussen, etc.).
Comparable to "My Soul to Take"? Not in the same vein as "Don't be afraid of the dark"? The female vocal he liked to recycle again and again in his early years from "Scream" to "The Watcher"?
I am very unsure how you are getting all of that negativity about the score from what I've written. I'm sorry you missed my appreciation for this score, or otherwise I failed to make it clear, but I love Carrie. It's awesome. WillGoldNewtonBarryGrusin's impression is closest to the mark.
If I were to compare it to MSTT, that would be a high compliment, because I love that score immensely. I'm not though; just saying that both scores feature the payneful piano. And I should amend what I said about female vocal, there are no solo vocals in the score, they are female chorus. I misspoke. Mistyped. Also, just because I said it's not in the same mold of DBA doesn't mean it isn't in the same league as DBA...and the two do share a certain lyrical similarity now that I reflect further...
My recommendation, just hold off your judgment and predictions of the score until you've heard it, it really is impressive stuff.
Now that there is someone who has heard the score, can you confirm if this is or is not from the score? It is used in the online Carrie game on the official site, but i was unsure if it was part of the score or not:
Now that there is someone who has heard the score, can you confirm if this is or is not from the score? It is used in the online Carrie game on the official site, but i was unsure if it was part of the score or not:
No sir, none of that music was composed by Marco Beltrami nor is it part of the film score.
Beltrami does indeed use a musicbox/bell-type sound in his score, but it isn't as clichéd as the music box sound in the clip you posted. The film score features a sound that is much creepier, more alien sounding.
Now that there is someone who has heard the score, can you confirm if this is or is not from the score? It is used in the online Carrie game on the official site, but i was unsure if it was part of the score or not:
No sir, none of that music was composed by Marco Beltrami nor is it part of the film score.
Beltrami does indeed use a musicbox/bell-type sound in his score, but it isn't as clichéd as the music box sound in the clip you posted. The film score features a sound that is much creepier, more alien sounding.
Ah okay awesome! Thanks for the reply, glad to have that finally out of the way so I know. If you don't mind my asking, I did wonder...what general direction does Beltrami take for the score as a whole. Would you call it a horror score? (I don't consider Carrie horror, I consider it a drama/tragedy with Horror / Sci-Fi Elements) I was wondering if he would approach it more like a horror score in general or if it is really underscoring Carrie herself more and her emotions and her journey making it ultimately feel more like a tragedy, while being horrific and creepy when need be. If you'd prefer not to say too much thats fine, but I just thought i'd ask a follow up question just for fun.
Ah okay awesome! Thanks for the reply, glad to have that finally out of the way so I know. If you don't mind my asking, I did wonder...what general direction does Beltrami take for the score as a whole. Would you call it a horror score? (I don't consider Carrie horror, I consider it a drama/tragedy with Horror / Sci-Fi Elements) I was wondering if he would approach it more like a horror score in general or if it is really underscoring Carrie herself more and her emotions and her journey making it ultimately feel more like a tragedy, while being horrific and creepy when need be. If you'd prefer not to say too much thats fine, but I just thought i'd ask a follow up question just for fun.
Hey man, no problem asking, anytime you want!
Actually, you pretty much got it right! I wouldn't call it a straight up horror score. You summed it up perfectly I think. I haven't seen the film yet so I don't know the content or how the music works with image but the music itself seems to express the character's emotional journey with herself, with her mother, and with the outside world. It can be kind of light and innocent music for a young girl coming-of-age (at one point Beltrami uses some sort of flute...not sure if it's piccolo or something but it sounds almost medieval in its soft delicate playing), but it does usually have an element of sinister. The main theme is pretty light though, although it is musically darkened when necessary. Towards the end it's really not emotionally powerful but more thriller drama. Hard to describe. There is electric guitar in a cue called "Driving Her Crazy" that I believe comes around the catastrophic prom incident but I am unable to express what type of tone/mood/emotion that conveys but it works brilliantly. So yes, this long answer basically says I feel it is less like a straight up horror score and more a musical character study with satellite horror writing and thriller writing dialed up primarily at the end.
Actually, you pretty much got it right! I wouldn't call it a straight up horror score. You summed it up perfectly I think. I haven't seen the film yet so I don't know the content or how the music works with image but the music itself seems to express the character's emotional journey with herself, with her mother, and with the outside world. It can be kind of light and innocent music for a young girl coming-of-age (at one point Beltrami uses some sort of flute...not sure if it's piccolo or something but it sounds almost medieval in its soft delicate playing), but it does usually have an element of sinister. The main theme is pretty light though, although it is musically darkened when necessary. Towards the end it's really not emotionally powerful but more thriller drama. Hard to describe. There is electric guitar in a cue called "Driving Her Crazy" that I believe comes around the catastrophic prom incident but I am unable to express what type of tone/mood/emotion that conveys but it works brilliantly. So yes, this long answer basically says I feel it is less like a straight up horror score and more a musical character study with satellite horror writing and thriller writing dialed up primarily at the end.
Wow sweet! Thanks for the response and answer! I was really hoping thats what he would go for, similar to Giacchino's general approch to "Let Me In", it does have the horror and suspense bits in it, but the general heart and soul of the score is the emotional journey of the characters. Awesome! Can't wait to hear it. I certainly hope it gets release!
The fact that no one can tell if this is new Beltrami or old Beltrami is pretty telling.
It doesn't seem to be anything that Beltrami wrote in the past, I'm quite sure of it. It sounds like a Beltrami score though, especially the last part (some elements reminded me a bit of his work on The Electric Mist). I could be a fake of course, and if this is the case, it's a quite convincing fake.
Since when is getting youtube views on a film score so important that it is worth creating fake samples of scores and posting them? I understand when I see that done for major pop group releases that are expected to get a lot of hits but not film scores.
Anyway, on to the score I like what I am hearing about it from Deputy's descriptions above. I tend to prefer the more emotional horror scores so hopefully this one will be fun. I'm actually pretty excited for the film because of the casting so we'll see how it is when I see it.
The fact that no one can tell if this is new Beltrami or old Beltrami is pretty telling.
It doesn't seem to be anything that Beltrami wrote in the past, I'm quite sure of it. It sounds like a Beltrami score though, especially the last part (some elements reminded me a bit of his work on The Electric Mist). I could be a fake of course, and if this is the case, it's a quite convincing fake.
Doesn't sound like a Beltrami score to me (as a Beltrami groupie). Shearmur's use of percussion tends to be a bit monotonic in terms of tempo changes, whereas Beltrami's tempo is more varied and more odd.
It sounds like Electric Mist because both Skeleton Key and Electric Mist are set in the deep south.
Don't remember Donaggio's music from the original film so can't draw any comparisons or contrasts.
I was going to say that your review has me even more intrigued to hear Beltrami's score, but that last sentence kind of takes away some of my faith in your judgment. How can you not know Donaggio's Carrie? It's an absolutely classic score. And I'm not just saying that because it's my favorite!
I know that Beltrami can come up with melodic scores because I've heard Don't Be Afraid of the Dark and was very impressed by that. I'm hoping that he will have captured the same melancholic femininity of the Donaggio score, which made that film feel even more tragic than it already was.
Seems that way unfortunately. Trying to get it confirmed... or perhaps Deputy Riley might.
Unfortunately looks like a song album. Although often Beltrami's music cue titles are changed from complete recorded score to CD pressing, none of the track titles here are cue titles from the score. Did a little research on some of the track titles that I though could be changed cue title names but they all appear to be existing songs.
I definitely share your 's. This score does deserve a release and this CD's Oct. 15 release date would've been a great Halloween release for the score!
I definitely share your 's. This score does deserve a release and this CD's Oct. 15 release date would've been a great Halloween release for the score!
Is there any reason to believe there won't be a score release and a song soundtrack? Other, of course, than Beltrami's history of not having all his scores released.
's. This score does deserve a release and this CD's Oct. 15 release date would've been a great Halloween release for the score! 