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Posted: |
Aug 14, 2017 - 2:02 AM
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By: |
Thor
(Member)
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Purely out of curiosity borne of your intriguing comment, Thor, I have to ask you, please: What sort of music, film or otherwise, do you now listen to in lieu of boisterous symphonic stuff?
These days, I'm more into other modes of film scores -- electronic (esp. the now popular, retro 'noir disco' stuff), chamber ensemble, romantic-minimalist, rock/pop-influenced things, more textural/ambient "indie" stuff etc. More calm than the busy. Although an old school symphonic score does come along now and then that I enjoy. Just recently, for example, I was impressed with THE DARK TOWER (JXL), PASSAGE TO DAWN (Diego Navarro), THE PROMISE (Gabriel Yared), ALIEN: COVENANT (Jed Kurzel)....which would fall in that category, I guess.
But I will always have a soft spot for those types of scores I loved in the 90s and before, and this ORVILLE project might be able to trigger some of that.
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Thanks, Thor. And thanks for the tips, I'll try and give a listen to those contemporary-but-"retro" scores you mentioned. Next question(s): Do those various aspects and elements -- electronic, disco, ambient, etc. -- figure into any non-film types of music you enjoy these days? And, did you ever and/or do you now listen to "straight" classical/concert music?
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Posted: |
Aug 14, 2017 - 8:15 AM
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By: |
Thor
(Member)
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Thanks, Thor. And thanks for the tips, I'll try and give a listen to those contemporary-but-"retro" scores you mentioned. Next question(s): Do those various aspects and elements -- electronic, disco, ambient, etc. -- figure into any non-film types of music you enjoy these days? And, did you ever and/or do you now listen to "straight" classical/concert music?
Absolutely. I also enjoy a lot of those styles outside film music. In fact, it was largely instrumental electronic music (and prog rock) that made me interested in film music in the first place, and now I find myself reverting back to some of that.
I also like classical music (an interest that was mostly spurred AFTER film music), but I see that as a somewhat separate thing.
I've found myself weary or uninterested in much of the "big, boisterous action symponics" that I see many fans and fellow film music critic colleagues enjoy these days. Most things by Desplat and Giacchino in those genres, for example. By looking at my Top 10 from last year, for example, I see that only PEE WEE'S BIG HOLIDAY (Mark Mothersbaugh) and THE RED TURTLE (Laurent Perez del Mar) were the only really traditionally symphonic scores that made the final cut. The others were in other idioms: MANCHESTER BY THE SEA, SWISS ARMY MAN, MADE IN FRANCE, THE HANDMAIDEN, DISTANCE BETWEEN DREAMS, EDDIE THE EAGLE, THE NEON DEMON and NERVE.
It's strange how we evolve as film music fans!
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Se we're all Big Score fans here, right? I mean this stuff is mother's milk.
If you're NOT in our demo (or if you're a rather ordinary 20 year old) does this kind of music make you giggle? I mean, do you say "Wow, that is so old fashioned?" I know when I saw Galaxy Quest in the theater some people laughed from the very first note. (Others seemed rather bewildered.)
It's kind of like I wonder if people "got the joke" in Star Wars when Luke and Leia swing across the chasm. I know I didn't because I was eight. And then film scores started sounding like that again, so it was YEARS before I started to wonder what that must have sounded like to a 30 year old.
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I saw this at another forum:
Also, according to John Debney's Facebook page, Orville also got Craig Huxley and his blaster beam
I remember reading the last time the blaster beam was used, it was missing a string or two. I wonder if it's been fixed.
Fans may recall hearing the blaster bean in at least three Trek film scores:
* TMP
* TWoK
* TSfS
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Nope, says I must be logged in to view it.
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I will.
Can somebody just ask Kraft which episodes he and Huxley used it on, so I can add their respective credits to the episodes on IMDb?
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"But those effects, along with the show’s ridiculously grandiose orchestral score, belong on a sci-fi series with some actual dramatic heft"
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I know it's kind of a put down, but I like that line above.
Other than that, I am still yet to see something (ANYTHING!!) by Seth MacFarlane that makes me laugh (even slightly).
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Posted: |
Sep 6, 2017 - 8:24 AM
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By: |
Thor
(Member)
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"But those effects, along with the show’s ridiculously grandiose orchestral score, belong on a sci-fi series with some actual dramatic heft"
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I know it's kind of a put down, but I like that line above.
Other than that, I am still yet to see something (ANYTHING!!) by Seth MacFarlane that makes me laugh (even slightly).
Unlike you, I'm a fan of almost everything he's done. Not too sure about this, though, since I'm not a fan of the type of show it's lampooning, but perhaps that's also an advantage. Regardless, I'm excited about the score. If it's put down by hipster critics because of its old-fashioned qualities, that could be a sign of greatness.
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"But those effects, along with the show’s ridiculously grandiose orchestral score, belong on a sci-fi series with some actual dramatic heft"
Oh man, I want an album for this so, so bad. Hoping Intrada (who have worked so often with Broughton and several times with McNeely) will put out a 2-4 disc set, honestly -- how often do we get big budget, "ridiculously grandiose orchestral score" on a score-fi project (especially TV) any more?
Yavar
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