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Those that enjoy detuned piano (a la Elfman's A Simple Plan or Girl on a Train) will definitely enjoy this score. There is a track called "Labor Intensive" (8:13 in length) that will blow your socks clean through the back door. You have a tracklist, Deputy? I cannot wait for this Beltrami!
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The movie is getting rave reviews, the story sounds very intriguing, and Kasinski has turned into an ace director. Looking forward to BeltramiĀ“s score!
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You have a tracklist, Deputy? I do, but unfortunately I'm not at liberty to share! I wish I could. But I'm sure you're going to love the score! It's intense and terrifying (it is Beltrami, of course) but at times the score really is quite lovely (it is Beltrami, after all). I'm sure the tracklist will be out very soon! Yeah!
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Details http://filmmusicreporter.com/2018/04/02/a-quiet-place-soundtrack-details/ 1. It Hears You 2. A Quiet Family 3. Children of the Corn 4. A Quiet Life 5. The Dinner Table 6. Something on the Roof 7. Babyproofing / Bonfire 8. Old Man 9. Labor Intensive 10. Kids Bonfire 11. Water in the Basement 12. Silo Attack 13. A Quiet Moment 14. Rising Pulse 15. All Together Now 16. Positive Feedback
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You incorrectly linked with the image tags and your whole post, aside from "Details", is blank and messing up some of the FSM page.
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Posted: |
Apr 5, 2018 - 6:25 PM
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By: |
bobbengan
(Member)
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I'm afraid to say that I hated almost every note of this score. Incredibly generic, predictable, phoned-in nonsense that anyone could have programmed (not written, I'd be amazed if all of five minutes of music in this film required anything to be 'written down' at all). From the opening it's just groaning sounds, thudding electronic hits, processed orchestral crashes, sparse "sensitive" piano tones that masquerade as a family theme. No development, no genuine drama, no architecture or structure to anything. There's maybe two minutes of combined passably dramatic string writing in "A Quiet Life" and "Kid's Bonfire", but even that's all too subdued and ill-memorable to be worthy of revisiting. Another turkey of a McScore score from the music-hating directors and producers. Hopefully the accompanying film will, at least, prove more interesting.
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It's a solid creature movie, the sound design is the best part, with a lot of different "silences" (in a desert supermarket, in a barn, in an open road), even if the monsters sounds reminds Signs a little bit. The score is effective, but nothing more, and Beltrami uses the Inception sound to identify the creatures.
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Loved the film but horrified to hear Beltrami ripping Johann Johannsson's lumbering, two-note motif from 'Sicario' verbatim from the get-go. If this is 'homage' to the late great Johann, it's pretty darn tasteless. Or perhaps, it's an 'in'-reference to Ms. Blunt who starred in both. 'The Emily Blunt Theme'? In any case, it was the only irritating element in the otherwise extremely effective sci-fi/horror flick.
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Beltrami uses the Inception sound to identify the creatures. "the Inception sound" wasn't glissando.
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I like the score, the sound (Beltrami have an incredible talent to write horror strings, and here, excells) and the theme for the family.
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I'm afraid to say that I hated almost every note of this score. Incredibly generic, predictable, phoned-in nonsense that anyone could have programmed (not written, I'd be amazed if all of five minutes of music in this film required anything to be 'written down' at all). From the opening it's just groaning sounds, thudding electronic hits, processed orchestral crashes, sparse "sensitive" piano tones that masquerade as a family theme. No development, no genuine drama, no architecture or structure to anything. There's maybe two minutes of combined passably dramatic string writing in "A Quiet Life" and "Kid's Bonfire", but even that's all too subdued and ill-memorable to be worthy of revisiting. Another turkey of a McScore score from the music-hating directors and producers. Hopefully the accompanying film will, at least, prove more interesting. Wow, my opinion could not be more different.
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Wow, my opinion could not be more different. Agreed. But then, when a person actually "hates almost every note" of a score as innocuous as A Quiet Place, they're criticizing from an entirely different perspective. I mean really, "hate"? I'm happy my set of criteria for hating something isn't so wide open. The day I feel hate towards film score music is the day I will seriously be worried. I don't begrudge anyone their opinion, but I think it's sad that someone feels hate towards music.
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Wow, my opinion could not be more different. Agreed. But then, when a person actually "hates almost every note" of a score as innocuous as A Quiet Place, they're criticizing from an entirely different perspective. I mean really, "hate"? I'm happy my set of criteria for hating something isn't so wide open. The day I feel hate towards film score music is the day I will seriously be worried. I don't begrudge anyone their opinion, but I think it's sad that someone feels hate towards music. Absolutely. And really, even if one dislikes a particular scoring technique one has to put things into perspective. There are scores that fall victim to being just wallpaper droning. But this one is intelligently thought out and offers beautiful melodies, too. Beltrami might not be to everyone's taste (who is?), but he is definitely one of those contemporary composers who know what they are doing and always ground their scores in themes and motifs. IMO, he combines what studio executives and young directors ask for with classic movie scoring.
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Wow, my opinion could not be more different. Agreed. But then, when a person actually "hates almost every note" of a score as innocuous as A Quiet Place, they're criticizing from an entirely different perspective. I mean really, "hate"? I'm happy my set of criteria for hating something isn't so wide open. The day I feel hate towards film score music is the day I will seriously be worried. I don't begrudge anyone their opinion, but I think it's sad that someone feels hate towards music. Absolutely. And really, even if one dislikes a particular scoring technique one has to put things into perspective. There are scores that fall victim to being just wallpaper droning. But this one is intelligently thought out and offers beautiful melodies, too. Beltrami might not be to everyone's taste (who is?), but he is definitely one of those contemporary composers who know what they are doing and always ground their scores in themes and motifs. IMO, he combines what studio executives and young directors ask for with classic movie scoring. Right on. Beltrami is extremely consistent in his use of themes and motifs - whether on a score-by-score basis or within a score. It's very important to him, and he finds a way to make it work, whether it's for something like Hellboy or Soul Surfer or even stuff like Hitman: Agent 47 and First You Killed My Father. A lot of composers introduce themes and motifs but often seem to abandon them or severely underutilize them because maybe they can't find a place for them or don't know how to integrate them. Beltrami's integration of themes and motifs for nearly all of his scores find a time and a place and occur with extremely satisfying regularity - and they're remarkably natural and organic to the overall soundscape. Whether someone likes the actual themes and motifs is another matter altogether, but the professionalism, talent, and skill with which he infuses his scores with this sense of continuity and structural identity is something you can always count on. It could be that a lot of people don't recognize (or can't identify) the various permutations of his themes and motifs (and even distinctive sound design created for narrative purposes) and therefore dismiss his scoring outright. Too bad for them, I guess, but like you said Beltrami's not for everyone to begin with.
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