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If this is what the end result is going to sound like, I'd actually much rather him stay the hell away from mainstream projects!
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Posted: |
Jul 22, 2014 - 6:38 PM
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By: |
desplatfan1
(Member)
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The main theme souds similar to Brian Tyler's Thor theme (and its asgard theme), including its orchestra arrangement, and also the choir.
And in some part, there is hans zimmer's pearl harbor motif when the violins start to play, and also Pirates of the caribbean's
And the B phrase of the theme is straight out of the main theme of The Impossible. Still, I think that it's a decent score. It has parts we've heard before, the mix is way too loud, the temp tracks are noticable, but you can tell something different from other scores of the genre. The brass is omnipresent, there's actually woodwinds, the choir is reserved for special moments to give a sense of beauty instead of sounding apocalyptic.
I think it's closer to Shorter's Pompeii than Tyler's Thor (ironically, Hercules is a comic book adaptation instead of another adaptation of greek mythology).
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Posted: |
Jul 28, 2014 - 9:02 PM
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By: |
bobbengan
(Member)
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Also right on the mark. Glad to see a mention of Kantelinen's forced lowering the bar on his Hercules score as well. Ironic that right around the same time we got to see his ballet released on CD.
Yeah, good review and a fair assessment indeed. Let's hope Velazquez gets hooked up with a good director stateside soon, or keeps working on Spanish projects in the interim where he has more creative freedom (and I certainly hope he'll keep working with J.A. Bayona, for whom he's written his very best work).
When will this nightmare streak of RC-soundalike nonsense plaguing Hollywood film scoring end...?
I don't know why I bother asking, because I know the answer: When a powerful and influential director chooses a different musical approach and the rest of the biz sheepishly follows suit...
For now though technically-accomplished but clinical filmmakers like Chris Nolan want this sound, Oscar-bait drama heavyweights like Steve McQueen want it, Hollywood machine guns Michael Bay/Jerry Bruckheimer et al want it, strong visual craftsmen like Zach Snyder want it and now even Del Toro has gone over to "the dark side" it seems - That's a pretty extensive blanket, people - so the short answer is probably "no time soon".
Thank Athen's Undergarments we have Rombi, Banos, Gordon, Talgorn etc. doing often-brilliant work elsewhere in the world...
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I ordered this on the spot when they announced it but boy, what a dissapointment! After 'The Impossible' and 'Zipi y Zape' and to a lesser extent 'Midas Box', I expected him to knock this one out of the park. Instead we get (another...) Brian Tyler-like power anthem (hello Iron Man!) and a number of exhausting modern-sounding action cues which could be placed in any recent action trhiller. The poor man suffered the same fate as his fellow countryman Navarrete two years ago. I know this guy can write so here's hoping Del Toro will let him score 'Crimson Peak' in a manner befitting his talent.
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Posted: |
Aug 16, 2014 - 4:36 PM
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By: |
bobbengan
(Member)
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My review of HERCULES, for anyone who's interested:
http://moviemusicuk.us/2014/08/16/hercules-fernando-velazquez/
Jon
Jon, I think this is a pretty fair assessment. While I was initially disheartened by this score's overtly "modern" Hollywood action sound, I've begun warming to it in the past week. While there are portions I'll skip time and again, there are at least 15 mins. worth of really damn good music. That End Title especially, of course.
No, it's not Velazquez's best work. No, it's not what it could have been had he been given complete artists reign. And HELL NO, it's no KRULL or CONAN. But for what it is, I enjoy portions of it and the main theme is far richer than anything the RC goons are pumping out right now.
I felt that same way about Roque Banos' OLD BOY late last year. My initial reaction (especially to the first handful of cues) was that Banos had sold out and gone the generic/sound design/wall-paper route, but the increasing thematic depth and orchestral presence eventually won me over and after creating a 17 minute suite of highlights, I now LOVE that score's lyrical/thematic side quite a bit!
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Posted: |
Aug 16, 2014 - 6:28 PM
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By: |
Jon Broxton
(Member)
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Jon, I think this is a pretty fair assessment. While I was initially disheartened by this score's overtly "modern" Hollywood action sound, I've begun warming to it in the past week. While there are portions I'll skip time and again, there are at least 15 mins. worth of really damn good music. That End Title especially, of course.
No, it's not Velazquez's best work. No, it's not what it could have been had he been given complete artists reign. And HELL NO, it's no KRULL or CONAN. But for what it is, I enjoy portions of it and the main theme is far richer than anything the RC goons are pumping out right now.
I felt that same way about Roque Banos' OLD BOY late last year. My initial reaction (especially to the first handful of cues) was that Banos had sold out and gone the generic/sound design/wall-paper route, but the increasing thematic depth and orchestral presence eventually won me over and after creating a 17 minute suite of highlights, I now LOVE that score's lyrical/thematic side quite a bit!
For sure. I think there is some terrific stuff here, especially in the orchestration, which is wonderfully rich in places. That main theme is a knockout, and - like you said - even if you don't care for the more electronic/rock parts of the score, there is still 20-30 mins of really excellent straightforward orchestral stuff to enjoy.
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Mama is excellent.
I also recommend EL ORFANATO [THE ORPHANAGE], a classy, beautiful horror score; and ZIP & ZAP AND THE MARBLE GANG (ZIPI Y ZAPE Y EL CLUB DE LA CANICA), a fun orchestral children's adventure score.
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The Orphanage is my favourite score by him too, if only for that gorgeous Delerue-like Main Theme that bobb refers to (unfortunately, I believe the Spanish score CD is quite hard to find these days).
The Impossible is also a beautiful score, but I find the CD quite repetitive.
I haven't heard this Hercules score yet, but I will give the last few tracks a listen on spotify or youtube to hear what could have been 
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