There's a metallic, industrial, clanking sound that drives Edge Of Tomorrow. It may not make for great stand-alone listening (though others disagree, I'm sure), but if the producers where listening to his promo's, I'm sure his score for EOT stood out more than his other, bigger box-office hits like Frozen and Hangover. And I'll wager it will sound more like EOT than Frozen
So what do we know about a "Terminator 5"? I hope it takes up from 3 and NOT from the PREquel 4!!!
I'll never get the hate for Salvation. It was no masterpiece (none of the Terminator films are), but it was far more original and well-made than the hack-job T2 remake that was Terminator 3. Mostow just didn't get it.
As far as people's insistence that Salvation is a "prequel"... The series is a loop (or at least was until the impending film). They're all simultaneously prequels and sequels!
I wish Hollywood would let the Terminator franchise RIP already. They keep burying it into the ground with each movie post T2. I'm sure T5 won't change that.
I entirely agree, the furthest I will go it Jonathan Mostow's picture T3 or whatever they call it. Mostow is at least a capable director that knows how to direct and frame out action.
It is just milking it after that, and the director talent pool is getting thin when you have the Charlie's Angels director make your Terminator movie.
I think everything that is produced in the TERMINATOR franchise is brilliant -- all four films and the Sarah Connor tv show. So no reason why I can't expect similar quality from this one.
Beck is an interesting choice. While he hasn't done that many great things lately (his heyday was in the 90s and early 2000s, IMO), and while his EDGE OF TOMORROW score was disappointing (but the film brilliant!), I'll leave my door open for this. The proof is in the pudding. No point in speculating what it will or will not be at this point. Somehow, score fans seems to want to revel in that.
"While he (Beck) hasn't done that many great things lately (his heyday was in the 90s and early 2000s, IMO)" ---------------------------- I would say that after scoring FROZEN (a really lovely and fitting score btw) and to a lesser extent The Muppet films, his star has probably never shone so bright than right now. The 'heyday' you speak of, to me, found him scoring endless inane romantic comedies usually associated with David Newman (Cheaper By The Dozen, Without A Paddle, Death/Funeral). He delivered some wonderful scores for many of them (sadly unreleased). I would say FROZEN will take him from the B List into the A, if he picks his projects well (or luckily).
I was excited for Beck's career, beign a big fan of his [award-winning] work on the TV series "Buffy the Vamprie Slayer" and enjoying hi scoring to "FX: The series" and the film "Guinevere", but I've been personally disappointed post Buff Buff.
I've enjoyed some cues here and there but I just can't be bothered by a number of low key scores that sounds like repetitive jam session cues and others that sounds like faint Thomas Newman riffs.
I won't hold out hope for T5. I suspect some okay Percy Jackson stuff with some synth work. I look forward to be proven wrong 'cause a good score is always welcomed from a composer, but I feel my prediction will be fairly spot on.
I think UNDER THE TUSCAN SUN and WE ARE MARSHAL are two of his stronger efforts from his low-budget/indie/comedy period. I do love many of his Rom/Com scores that are only available via samples on his site and promo's. Beth Cooper is especially great. I always loved the orch/percussion stuff from Bring It On as well.
I think everything that is produced in the TERMINATOR franchise is brilliant -- all four films and the Sarah Connor tv show. So no reason why I can't expect similar quality from this one.
Beck is an interesting choice. While he hasn't done that many great things lately (his heyday was in the 90s and early 2000s, IMO), and while his EDGE OF TOMORROW score was disappointing (but the film brilliant!), I'll leave my door open for this. The proof is in the pudding. No point in speculating what it will or will not be at this point. Somehow, score fans seems to want to revel in that.
Thor, you been standing out in the cold too long again. You think Salvation is brilliant?
I think everything that is produced in the TERMINATOR franchise is brilliant -- all four films and the Sarah Connor tv show. So no reason why I can't expect similar quality from this one.
Beck is an interesting choice. While he hasn't done that many great things lately (his heyday was in the 90s and early 2000s, IMO), and while his EDGE OF TOMORROW score was disappointing (but the film brilliant!), I'll leave my door open for this. The proof is in the pudding. No point in speculating what it will or will not be at this point. Somehow, score fans seems to want to revel in that.
Thor, you been standing out in the cold too long again. You think Salvation is brilliant?
Hmm. I actually think that is more exciting than Beck, who doesn't do big action films very well, IMO. He's better with more intimate dramas (like PHOEBE IN WONDERLAND).
I wasn't expecting anything fantastic from Beck, but I was at least willing to give it a listen. That was my connection to the upcoming film. Now I'm letting it go. It's a leaf in the wind now, watch how it fl--
I´m still interested. And I have come around (again) on Zimmer, enjoying his collaborations and his solo work.
However, I find it sad that the studios always go straight back to him when previews point out problems with a film. It´s like saying "Hans is the only one who can save our asses!"
And I´m sure there would be lots of other composers who could add an interesting score.
Apart from that, I don´t think that Beck´s score was the problem of this film. His "Edge of Tomorrow"-score already was kind of "Terminator"-appropriate.
