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For anyone expecting this to sound like an action score (like me, who saw Fenton's name and instantly was wanting this to be another Final Analysis), beware - it's some "grandpa" trying to do quirky Thomas Newman music. Was not prepared for this sound at all.
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For anyone expecting this to sound like an action score (like me, who saw Fenton's name and instantly was wanting this to be another Final Analysis), beware - it's some "grandpa" trying to do quirky Thomas Newman music. Was not prepared for this sound at all.
The same happened to me too, Shaun. I adore George Fenton's output and was so happy to see a new work of his after such a long time... but alas, a huge disappointment. This is one more example of what you get when you try to "modernize" a composer loved for his previous mastery.
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it's some "grandpa" trying to do quirky Thomas Newman music.
"Grandpa"? Fenton and Newman are both in their 60s.
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it's some "grandpa" trying to do quirky Thomas Newman music.
"Grandpa"? Fenton and Newman are both in their 60s.
Haha yes yes, hence the quotes. It sounds like someone who isn't cool trying to do the "cool" Newman sound of 20 years ago.
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Are you familiar with any of Fenton's early work? A lot of his 1980s stuff, including his earliest scores for the BBC Natural History Unit and David Attenborough were all synth. This score isn't trying to "modernize" Fenton in any way - quite the opposite, in fact, it's a return to his roots. There's a ton of The Company of Wolves in this.
I don't hear any Company of Wolves in this and I am very familiar with the Company score. They share nothing in common. Company is a very impressionistic score, while Cold Pursuit is much simplier and with an obviously different influence. The posts previous of mine point to the issue better, I mean the unmatch between expectation and result.
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The same happened to me too, Shaun. I adore George Fenton's output and was so happy to see a new work of his after such a long time... but alas, a huge disappointment. This is one more example of what you get when you try to "modernize" a composer loved for his previous mastery.
Are you familiar with any of Fenton's early work? A lot of his 1980s stuff, including his earliest scores for the BBC Natural History Unit and David Attenborough were all synth. This score isn't trying to "modernize" Fenton in any way - quite the opposite, in fact, it's a return to his roots. There's a ton of The Company of Wolves in this.
Point out the Company Of Wolves stuff (maybe this is in your review, hang on). Maybe I missed it while I was enraged that this wasn't an action score. Wah-wah, I'm let down.
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I also just realized COLD PURSUIT is directed by Norwegian director Hans Petter Moland, who is actually my next door neighbour. Figure that! 
You need to talk to your neighbor more - he directed the original version, too!
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I'm not familiar with any of his action scores, my favourite of his has always been Shadowlands from '93.
There's some powerful, visceral action writing in We're No Angels; unfortunately that CD is long out-of-print. Memphis Belle however has some wonderfully stalwart, heroic passages (though I'm not sure I'd call it an "action" score -- certainly not in the "Rambo" sense).
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I'm not familiar with any of his action scores, my favourite of his has always been Shadowlands from '93.
There's some powerful, visceral action writing in We're No Angels; unfortunately that CD is long out-of-print. Memphis Belle however has some wonderfully stalwart, heroic passages (though I'm not sure I'd call it an "action" score -- certainly not in the "Rambo" sense).
Memphis Belle is great!
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Memphis Belle is great!
Is is!
I forgot, there is a very good action cue in The Fisher King too, titled "The Red Knight Suite" on the CD.
It's a shame that George Fenton seems to have been forgotten. He was an A-list composer in the late 1980s and 90s, attached to some of the best projects (and frequently Oscar-nominated).
But he parted ways with Neil Jordan after Interview With The Vampire, and the output of his other main collaborators, Stephen Frears and Richard Attenborough, dropped sharply. Fenton seemed to reinvent himself as the "court composer" for the BBC's nature series, but sadly he was absent from Planet Earth II.
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