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 Posted:   Dec 25, 2018 - 9:41 AM   
 By:   solium   (Member)

This came out of no where! I think it just premiered on Netflix. Sadly the soundtrack sounds like a generic video game score, which I guess goes with the very video game looking CGI graphics. (The dog and fox look awful!)

There's some dramatic scoring later on in the presentation, but over all lacks thematic drive. I hear distracting background noises during "Super 8 Memories" which appears to be a solo piano piece. Certainly won't be going back to this like the classic 78 score.

On further listen there are some fantastic cues I'm just don't know if the score works overall.

 
 
 Posted:   Dec 25, 2018 - 10:18 AM   
 By:   Jon Broxton   (Member)

I don't think you know what 'generic video game scores' sound like.

 
 Posted:   Dec 25, 2018 - 10:44 AM   
 By:   solium   (Member)

I don't think you know what 'generic video game scores' sound like.

Thank you for contributing nothing to this thread.

 
 
 Posted:   Dec 26, 2018 - 1:11 AM   
 By:   Jon Broxton   (Member)

Its pretty much equal to yours!

 
 Posted:   Dec 26, 2018 - 8:12 AM   
 By:   solium   (Member)

Its pretty much equal to yours!

What a clever come back, dip shit!

 
 Posted:   Dec 26, 2018 - 10:50 AM   
 By:   'Lenny Bruce' Marshall   (Member)

The Solium/Broxton Conflagration

 
 Posted:   Dec 27, 2018 - 2:50 AM   
 By:   WillGoldNewtonBarryGrusin   (Member)

Angela Morley´s score will always have a special place in my heart and cannot be topped.

But the score for this remake is absolutely fine and nothing like a video game score at all. It´s a beautiful and intelligent symphonic score which I would actually rank under my year´s favorites.

 
 Posted:   Dec 27, 2018 - 3:55 AM   
 By:   batman844   (Member)

This new adaptation was a mixed bag. I love Richard Adams' original novel... the whole universe and characters are a great place to escape to and this version did allow for some extra depth to the story given the longer running time. A few characters were changed (some even from male to female) but overall I enjoyed the storytelling. The biggest problem I had was the 'unfinished' looking animation. Apparently it had a £20 million budget, but it looks like a lot of that went to the voice cast! Also the Sam Smith song at the end was awful (would love to have heard a new version of 'Bright Eyes' from the 1978 version). Overall I enjoyed it but just wished it was better!

Federico Jusid's 2018 score was mostly very good. Of course there will be comparison to Anglea Morley's excellent 1978 score (which I still find superior), but it had the right amount of orchestral action and emotion despite the lack of a strong theme. I've loved the long emotional cue towards the end where the dog is chasing the rabbits. An album is available now digitally... if there's a CD release I'll probably pick it up.

 
 Posted:   Dec 27, 2018 - 7:23 AM   
 By:   solium   (Member)

See people can have difference of opinions and express them in a positive and respectful way. I'll give it another try and see if it grows on me.

 
 
 Posted:   Dec 27, 2018 - 11:20 AM   
 By:   Just another Goldsmith fan...   (Member)

My twopence worth...Having now watched the entire film, I have to say it was much better than I anticipated. However, the original 1978 version (IMHO) does remain superior.

The most noticeable thing for me; the updated version took twice as long to deliver only one half of the emotional and dramatic wallop of Martin Rosen's original. That is not to say the new adaptation is without merit. The world and it's characters certainly felt 'fleshed out' and I watched the whole thing in one sitting without being bored. I do agree with an earlier comment regarding the animation; it did remind me of some of the graphics I've seen in PS3 games.

Angela Morley's score has always remained special to me; I was only sixteen years old when I bought the soundtrack in '78. Federico Jusid's score is certainly accomplished, but I yearned to hear new arrangements of Morley's themes and perhaps a quote or two from 'Bright Eyes'. As for Sam Smith's song..Sorry! but it sounded clunky and bolted on over the end credits as an afterthought.

After forcing myself to look past any 'Dewy eyed' nostalgia for the original, this new version is certainly worth a look and I don't think parents will need to plan a visit to a Child Psychologist if their children see this one.

Cheers

 
 
 Posted:   Dec 28, 2018 - 2:15 PM   
 By:   Jon Broxton   (Member)

I'd love to know which generic video game score this sounds like:

 
 Posted:   Dec 29, 2018 - 11:45 AM   
 By:   solium   (Member)

After a few listens and whittling it down I like it a lot more. But I still stand by my comments a good third of the score is video gamey sound. Pretty linear and simplistic, not adding a lot of emotional weight. (and of course this doesn't mean all video game scores are like this)

There seems to be a mixture of styles too, maybe some 60's Bernard Herrmann and Jerry Goldsmith which don't resonate with me.

The last third is far more dramatic and emotes a response musically speaking, though the action music over all is dull. There's some stand out cues for sure.

The scoring styles between this and the original are night and day. I really can't compare the two.

 
 Posted:   Dec 29, 2018 - 12:52 PM   
 By:   DJS   (Member)


After a few listens and whittling it down I like it a lot more. But I still stand by my comments a good third of the score is video gamey sound. Pretty linear and simplistic.

Oh no don't back peddle because they pressure you! big grin I think the term you may be searching for is 'incidental' and I agree completely.

 
 Posted:   Dec 29, 2018 - 1:08 PM   
 By:   Wedge   (Member)

I was deeply disappointed in this adaptation. I could maybe have lived with the stilted animation and often-flat visuals, but I felt terribly let down by the script and characterizations. Though the miniseries includes a few plot points left out of the 1978 film, on balance it somehow manages to wind up a LESS faithful adaptation of the novel, despite more than doubling the running time. It removes key story points and invents others, while reassigning character motivations and behavior in ways that, for me, cheapen the overall story. Hazel in particular feels diminished here, with his leadership qualities consistently masked or undercut in the early chapters, presumably because the writer felt it worked better as an arc. This dovetails with making Bigwig a lot more angry and hostile throughout, which makes him less charismatic and paradoxically less formidable. (I don't blame this on the excellent voice cast, but they can only do so much.) And don't get me started on the handling of Hazel's "love story," which detracts from other relationships and pointlessly complicates and drags down the already bloated Efrafa plotlines.

The music is fine at times, but I find the action material thin and short of the mark dramatically -- a key example being the early escape across the stream. (Incidentally, this scene is neat bit of dramatic foreshadowing in the original, robbed of its resonance here since (a) a dog no longer figures into the sequence, and (b) the much more significant water-based escape later in the story has been inexplicably axed.) The rabbits triumph against long odds, Holly shouts a threat, Bigwig laughs it off, and they all run off to freedom. But the music just keeps pounding away with no nuance or emotional color. I suppose you could stretch and say this was meant to reflect that the danger isn't really over, but really it just feels like a narrative misstep.

Anyway, that's just my two cents. Plenty of people seem to be enjoying this adaptation, and this score -- and if the miniseries leads readers unfamiliar with Richard Adams to discover his work, or to check out the original film, I think that's a wonderful thing. But it's not for me.

 
 Posted:   Dec 29, 2018 - 2:42 PM   
 By:   solium   (Member)

After a few listens and whittling it down I like it a lot more. But I still stand by my comments a good third of the score is video gamey sound. Pretty linear and simplistic.

Oh no don't back peddle because they pressure you! big grin I think the term you may be searching for is 'incidental' and I agree completely.


Heehee, I'm just honest with my opinions, if my opinion changes so be it. wink

 
 Posted:   Dec 30, 2018 - 8:25 AM   
 By:   WillGoldNewtonBarryGrusin   (Member)

I love this score and can only highly recommend it.

 
 
 Posted:   Jan 8, 2019 - 11:11 AM   
 By:   Jon Broxton   (Member)

My review of WATERSHIP DOWN, for anyone who's interested:

https://moviemusicuk.us/2019/01/08/watership-down-federico-jusid/

Jon

 
 
 Posted:   Jan 8, 2019 - 11:20 AM   
 By:   villagardens553   (Member)

Not totally unrelated, but I once attended a Miles Davis seminar and one of the speakers was the controversial jazz critic Stanley Crouch. Crouch referred to Miles Davis' classic album Sketches of Spain as "elevator music." During the Q&A I asked Crouch what elevators he frequented.

 
 Posted:   Jan 10, 2019 - 11:21 AM   
 By:   Fabthelaw   (Member)

For those who enjoyed the score, I asked Jusid whether a physical release was coming: it appears he's working on it. I keep my fingers crossed !

 
 
 Posted:   Aug 2, 2020 - 8:33 AM   
 By:   Camillu   (Member)



I liked this score, but I especially liked the rousing, climactic cue 'Join my Owlsa'. I thought it was a perfect fit for this montage of flying clips.

 
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