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I can't tell you how much I look forward to this film. I was already psyched for it when I first heard about the project, but two of my colleagues just saw the film at the Venice film festival, and were both impressed. And they're not as hardcore sci fi junkie as I am (nor as big a fan of Villeneuve). So bring it on!
I'm expecting Jóhannsson's score to be predictably good. I hear there's a lot of cellos in it.
That makes two of us. I've been a fan since Prisoners. I think he's an interesting composer and will bring something very different to this score.
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Nearly every review I've read so far has praised the music, which is saying something. Very excited for this, film* and score.
* The screenwriter's past credits do not inspire confidence, but it's based on a brilliant short story and Villeneuve has said he rewrote and rewrote and rewrote with the writer.
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I listen to Sicario a lot. It's great. So I'm looking forward to this. I'm sure the script rewrites will only improve what was a decent enough script in the first place.
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Posted: |
Oct 2, 2016 - 12:38 AM
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By: |
bobbengan
(Member)
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* The screenwriter's past credits do not inspire confidence, but it's based on a brilliant short story and Villeneuve has said he rewrote and rewrote and rewrote with the writer.
The writer, Eric Heisserer, is one of the most respected screenwriters currently working in LA. He's the sole reason ARRIVAL got made (he optioned the rights to the short story and wrote it on spec himself when no one was willing to pay him to adapt an obscure sci-fi property). Like all screenwriters, he's had to pay his bills as well, as his excellent unproduced scripts don't always do that... But an open writing assignment like the Nightmare on Elm Street remake does.
Not defending the choice to willingly take on writing "crap" per se, but just thought I'd present a flip side to this statement. This is the problem faced by screenwriters who aren't also writer-directors or writer-producers - They might be gifted writers but on gigs like the aforementioned horror remake, you're an expendable hired gun whose mandate is to address (often terrible) producerial notes and if you're hard to work with or unwilling to compromise, the producers will just find someone else who is willing to be a team player.
There IS a time and place to die on the sword. But usually when you're young or new to this game (as Heisserer was when most of those past projects came to fruition), that isn't necessarily the time to do so.
Just thought I'd chime in with this...
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Thank you! And perfectly put!
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Posted: |
Oct 18, 2016 - 11:57 AM
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By: |
MikeP
(Member)
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* The screenwriter's past credits do not inspire confidence, but it's based on a brilliant short story and Villeneuve has said he rewrote and rewrote and rewrote with the writer.
The writer, Eric Heisserer, is one of the most respected screenwriters currently working in LA. He's the sole reason ARRIVAL got made (he optioned the rights to the short story and wrote it on spec himself when no one was willing to pay him to adapt an obscure sci-fi property). Like all screenwriters, he's had to pay his bills as well, as his excellent unproduced scripts don't always do that... But an open writing assignment like the Nightmare on Elm Street remake does.
Not defending the choice to willingly take on writing "crap" per se, but just thought I'd present a flip side to this statement. This is the problem faced by screenwriters who aren't also writer-directors or writer-producers - They might be gifted writers but on gigs like the aforementioned horror remake, you're an expendable hired gun whose mandate is to address (often terrible) producerial notes and if you're hard to work with or unwilling to compromise, the producers will just find someone else who is willing to be a team player.
There IS a time and place to die on the sword. But usually when you're young or new to this game (as Heisserer was when most of those past projects came to fruition), that isn't necessarily the time to do so.
Just thought I'd chime in with this...
Taking on "crap" writing can be a necessity at times. It can pay the bills. And, yeah the writer is always expendable. You turn in your work, and either you get notes you incorporate into the next draft, or, you part ways with the project.
What you originally wrote, your best shot at it, may have nothing to do with what ends up onscreen and can still have your name attached.
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Posted: |
Oct 18, 2016 - 2:38 PM
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By: |
bobbengan
(Member)
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The sample are... Uh, different in spots, I'll give it that, and succinct with what critics have had to say about the score, but I do sense a problem that might be germane to the movie itself. The brilliant short story on which this is based is barely about aliens. It's about the relationship between the woman who slowly begins to decipher their language and her yet-unborn daughter, with the aliens and their language merely a device to set THAT story in motion. It left me in tears at the end. It's a beautiful work of art and I recommend everyone get their hands on it.
Nothing in these samples tell me the narrative of the film caters to this later, far more profound and human tale, and instead might be 'speaking to' the alien invasion aspect and the politics of the government interference. This is clearly and without question suspense and horror/thriller scoring, not 'human' scoring.
I hope to be proven wrong, as I'm a huge admirer of this director and would like to think he "got" the heart of the story and captured it effectively.
As for the music itself, it's basically Penderecki meets Steve Reich meets Hans Zimmer, without the orchestrational adroitness of the former composer. I can image the musicians at the session falling asleep by the end!
I'll never understand why modern directors, even the really talented ones like Denis Villeneuve, can't or don't have any interest in eliciting good music from composers. It's so disheartening.
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Interesting samples. I will be getting it. I really enjoyed Sicario. Just looking forward to seeing the film at some stage.
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I really like that Richter piece when it's combined with This Bitter Earth by Dinah Washington (in Shutter Island).
It feels wrong to me now without it.
I agree, love that mash-up (which was done by Robbie Robertson, I believe.)
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