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The specific section:
"TRANK: I got his manager’s number and gave them a call! Philip Glass is one of my heroes. Whenever I’m writing or drawing I always put on Philip Glass. This is my first time making a movie with a score and I thought, “why not give it a shot?” So I asked the studio, “what about Philip Glass? Would you guys be okay with me giving him a call?” And they were totally cool. He’s a really significant celebrity in the music world. I got his number from his manager, I sent him Chronicle and had a call with him. It was one of the coolest calls I’ve ever had in my life because he’s fucking Philip Glass and he had just watched my movie. The first words out of his mouth were, “I just saw your movie and it’s very philosophical.” We were talking about the philosophy of Chronicle and it gave me goosebumps. We invited him out to set and he came to set for like three days and had a great time. He was blown away by the scale of the film. I’ve been working with him for almost a year now and he’s so inspiring. He’s such a humble, amazing guy."
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OK, now this film has my attention...until Mr. Glass or Mr. Beltrami come in and say something to the effect of the whole Micheal Mann/Terrence Malik style ["I did indeed get paid and deliver a score but little to none is on screen"].
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Speculation - true. But if Trank has worked with Glass for over a year and Beltrami is called in to work with him... it does not look as if Glass has delivered something studio-friendly.
That does not mean at all that Glass has not delivered something unique.
But one gets the feeling that the studio wants someone reliable to at least supervise if not change or rework or add something.
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Oh, they'll probably get riud of him before the film opens. This film has reportedly had various kinds of troubles and the last thing they need is a good stand-out score -- they'll want to play it safe.
Every time he gets a score replaced, it's always one I was looking forward to. Damnit.
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I've always felt that Beltrami is weak on the melodic front but a very strong action composer.
Two words: SOUL SURFER.
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I've heard cues I like, but overall I've yet to hear a whole score by the composer I can say I love or even want to own. And for the life of me, I can't recall a single theme from any score I've sampled yet.
I find the majority of the action material to be lacking serious meat and often sounds thin and falls back on bad habits sometimes.
Some people are really taken with him, I just can't hear what the big deal is. Ever new score these days is praised by a few people, and I hear it and I don't get it, even stop playing the music 'cause I'm bored senseless.
But, I'd still take him over Zimmer.
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