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For him to become a "great" composer, he'd have to develop a personal style. Which he hasn't, as of now.
What he IS is an excellent craftsman, successfully adapting to the very different genres he's been working in. And, of course, miles and miles ahead of ... Well, it begins with H and ends with "immer".
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Posted: |
Jun 29, 2014 - 10:57 AM
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By: |
bobbengan
(Member)
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For him to become a "great" composer, he'd have to develop a personal style. Which he hasn't, as of now.
What he IS is an excellent craftsman, successfully adapting to the very different genres he's been working in. And, of course, miles and miles ahead of ... Well, it begins with H and ends with "immer".
I'm going to have to disagree wholeheartedly with the "no voice" thing.
His lyrical, layered string writing is clearly his own. It can be heard in the more operatic moments of OLDBOY and in EVIL DEAD's tragic moments, in THE LAST CIRCUS, in the heartbreaking family theme of INTRUDERS, and I'm sure in others I'm less familiar with. It's front and center of a number of cues here in this score and damn is it a joy to listen to. His strident action/thriller techniques are to my ear distinct and recognizable.
Banos is rapidly becoming one of my absolute favorite "new" composers. We're very lucky to have someone like this finally working in Hollywood; Let's hope he'll play an integral part in making scores interesting again.
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Since another thread here introduced me to Banos I thought it was time to bump this thread in order to celebrate this amazing composer more.
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We should thank Hans Zimmer for recommending Banos to Ron Howard as composer for his upcoming Heart of the Sea. Based on some clips that Howard has posted from scoring sessions the music sounds terrific.
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I don´t know why it took so long - and a post on this site! - to make me aware of this composer.
He commands an orchestra with such majestic assuredness and offers that kind of score which I prefer: melodic, symphonic, hauntingly beautiful.
And such a treasure trove to discover, all these scores I did not notice before...
Thank you!
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Posted: |
Sep 9, 2014 - 9:54 AM
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By: |
bobbengan
(Member)
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now playing his first score:
Very Ravel-esque - Main title seems to be inspired by Daphnis et Chloe and a lot of the bulk of the underscore has a Bolero-type feel. Still a great score.
It's interesting to see the influences in his earlier work before he truly found his "sound", a turning point I'd argue came with THE LAST CIRCUS - An amazing score where that incredibly lyrical, contrapuntal string writing you hear in the operatically tragic portions of EVIL DEAD, OLD BOY and INTRUDERS is on full-display.
If you haven't seen that movie as well (The Last Circus), you should, because it's amazing and unlike anything else I've ever seen and Banos' score is wildly diverse, effective and narratively important to boot.
Speaking of OLD BOY - Anyone else love this score? No one seemed to discuss it when it came out. Sure, some of the droning earlier portions aren't so hot, but there's 20 minutes or so of 5 star material here. The "Revenge" cue is breathtaking in its emotional intensity. It's a close analog for John Scott's MAN ON FIRE where gritty, urban/contemporary elements clash musically with moments if tender lyricism to create an incongruous but amazingly effective listen. It definitely elevated the troubled movie as well.
I too am also phenomenally excited for HEART OF THE SEA and hope it opens the floodgates for more work from him stateside, so long as he isn't asked to compromise his musical identity a la Javier Navarette with CLASH OF THE TITANS 2! If OLD BOY and EVIL DEAD are any indication though, perhaps he's too strong a composer now for his voice to be jeopardized.
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I'm just really surprised Zimmer endorsed him to Howard. I have to give the H-man a big high five for that.
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I´m listening now to INTRUDERS.
How Banos builds suspense... A true masterclass!
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Listening to THE MACHINIST now.
Like a fascinating mixture of Bernard Herrmann and Pino Donaggio, resulting in an own distinct personality.
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