Newly posted to the Musique Fantastique web site: my interview with Roque Banos on scoring the new thriller DON'T BREATHE.
"DON’T BREATHE takes place almost entirely inside a house, as would-be robbers are confronted by its unexpectedly fierce owner. For such an intensely claustrophobic story, Baños decided to make “the house play the music,” by using ordinary household objects or materials as instruments for the score."
I remember a couple composers who scored films with sounds in a similar approach. Their scores were not used in the end. I remember one television composer who did something saimilar on a kids TV show. He was fired after two episodes.
I remember a couple composers who scored films with sounds in a similar approach. Their scores were not used in the end. I remember one television composer who did something saimilar on a kids TV show. He was fired after two episodes.
Score death watch clock ... GO.
I'd normally agree with you, but in this instance will not. Have you heard any of the clips? Even with the novel approach to a patchwork orchestra, it still manages to send pretty generic, like a CSI episode or something - Dark and "Urban" and, to the ear alone, not special or interesting at all. At least what I've heard so far.
I remember a couple composers who scored films with sounds in a similar approach. Their scores were not used in the end. I remember one television composer who did something saimilar on a kids TV show. He was fired after two episodes.
Score death watch clock ... GO.
I'd normally agree with you, but in this instance will not. Have you heard any of the clips? Even with the novel approach to a patchwork orchestra, it still manages to send pretty generic, like a CSI episode or something - Dark and "Urban" and, to the ear alone, not special or interesting at all. At least what I've heard so far.
Agreed unfortunately. Big Banos fan and I was really looking forward to This but the constant motoristic rhythm does in fact seem to suggest a modern scoring approach as opposed to a Varese Ionisation type approach that I was looking forward to. A stark, cold percussion score almost like Goldsmith's POTA would have been amazing. Well to listen to on its own. I'm sure Banos gave Alvarez exactly what he wanted for this score.
I'd normally agree with you, but in this instance will not. Have you heard any of the clips? Even with the novel approach to a patchwork orchestra, it still manages to send pretty generic, like a CSI episode or something - Dark and "Urban" and, to the ear alone, not special or interesting at all. At least what I've heard so far.
Agreed unfortunately. Big Banos fan and I was really looking forward to This but the constant motoristic rhythm does in fact seem to suggest a modern scoring approach as opposed to a Varese Ionisation type approach that I was looking forward to. A stark, cold percussion score almost like Goldsmith's POTA would have been amazing. Well to listen to on its own. I'm sure Banos gave Alvarez exactly what he wanted for this score.
Too bad, since Alvarez DID let Banos write one hell of a bombastic score for his debut feature just three years ago!
I'd normally agree with you, but in this instance will not. Have you heard any of the clips? Even with the novel approach to a patchwork orchestra, it still manages to send pretty generic, like a CSI episode or something - Dark and "Urban" and, to the ear alone, not special or interesting at all. At least what I've heard so far.
Agreed unfortunately. Big Banos fan and I was really looking forward to This but the constant motoristic rhythm does in fact seem to suggest a modern scoring approach as opposed to a Varese Ionisation type approach that I was looking forward to. A stark, cold percussion score almost like Goldsmith's POTA would have been amazing. Well to listen to on its own. I'm sure Banos gave Alvarez exactly what he wanted for this score.
Too bad, since Alvarez DID let Banos write one hell of a bombastic score for his debut feature just three years ago!
I know and it still holds up today. Not sure why Banos would go with groove based scoring with all this interesting percussion instruments at his disposal as opposed to using them in a more free rhythm type mode. The repeating figures with a low drone underneath does remind me of tv scoring ideology. Pity.
Just a theory: maybe, they felt that an orchestral score like the one for EVIL DEAD would've stepped all over the mood the film establishes?
Again, just a theory. Not everything needs an orchestral score.
Exactly. As Roque says early in the Q&A: "We both wanted to create a score that was completely unusual." So that was at least the intent. Successful or not? Have to wait to see the movie tomorrow.
Just a theory: maybe, they felt that an orchestral score like the one for EVIL DEAD would've stepped all over the mood the film establishes?
Again, just a theory. Not everything needs an orchestral score.
I never said I was disappointed because it doesn't sound like Evil Dead- I said the motoristic element of the percussion doesn't give it a distinctive sound the way it was billed and I was hoping it would sound moody and atmospheric like Varese's percussion work.
Just a theory: maybe, they felt that an orchestral score like the one for EVIL DEAD would've stepped all over the mood the film establishes?
Again, just a theory. Not everything needs an orchestral score.
I never said I was disappointed because it doesn't sound like Evil Dead- I said the motoristic element of the percussion doesn't give it a distinctive sound the way it was billed and I was hoping it would sound moody and atmospheric like Varese's percussion work.
And I was agreeing with you and adding the quote in for the folks who posted before you who were discussing what they thought he was doing in this score. Sorry, should have made that clear.
Just a theory: maybe, they felt that an orchestral score like the one for EVIL DEAD would've stepped all over the mood the film establishes?
Again, just a theory. Not everything needs an orchestral score.
I never said I was disappointed because it doesn't sound like Evil Dead- I said the motoristic element of the percussion doesn't give it a distinctive sound the way it was billed and I was hoping it would sound moody and atmospheric like Varese's percussion work.
And I was agreeing with you and adding the quote in for the folks who posted before you who were discussing what they thought he was doing in this score. Sorry, should have made that clear.
No,worries. My response was to SBD's post actually. I've been looking forward to this film and score for months. Perhaps it will be more distinctive after I've seen the film.
I guess we'll all have to wait and see for certain, but from what I've heard thus far I'm in agreement with everyone above. Of course a non-orchestral approach can be very strong - like this amazing little theme Daniel Licht wrote for AMITYVILLE 1992:
I mean - A grandfather clock being used as a harpsichord-like instrument? Brilliant! Awesome!
The problem is that, for all the creativity employed in creating this "found" orchestra for DON'T BREATHE, the end sound is generic in its rhythmic application in a very underwhelming fashion. It sounds like one of the less inspired moments of the SAW score, or something of that mold.
A for effort I guess, but definitely not original or something very interesting sounding. I do hope there will be moments in the full score that prove me wrong.
I agree. I have to hear the whole score and in the context of the film to ultimately provide a more informed opinion but based on the video, it's not the style or application of percussion that I was expecting nor does it seem all that original as others have already mentioned. Could be very effective in the film however.
Listening to it on Apple Music. There are in fact some nice eerie bowed percussion sections that are very effective. Still not crazy about the groove based sections but this is actually an interesting listen and I think it will enhance the film based on the atmosphere it establishes. it's not breaking new ground as much as it might claim toany unlike Goldsmith's earlier work but given Banos didn't rely on synths and chose and organic means of his sound palette, it's good. Some of it has a JNH vibe but Banos has stated he admires Howard so there you go.
I'd never listen to this on it's own, but it worked a treat while watching the film last night. The film is pretty intense anyway and the score ramps up some of that tension and drama. I imagine this director and composer will be working together a lot in the future.
