Fallout is one of the best action scores in recent memory, and one of the best we’ve seen from Balfe. Not only is it riveting action, but for the emotional undercurrent we strip out the glossy romanticism for a more existential look at the lives of Ethan Hunt and company. Balfe’s score doesn’t take away anything from the amazing past entries in the franchise, but adds another chapter that brings this beloved action franchise into a new territory. The fact that Mission: Impossible has turned into this franchise that celebrates practical action filmmaking where different directors and composers have gotten to leave their personal stamp, is something wonderful. Balfe brings his A-game and makes Mission: Impossible - Fallout a tour de force of action scoring.
5/5
Jeżeli na dniach wyskoczy info, że Lalo się przekręcił, to wiemy komu dziękować.
Balfe says he has never met composer Lalo Schifrin, who is now 86, semi-retired and lives in Beverly Hills. He wanted to email the composer but kept “chickening out,” he says. “It’s very nerve-wracking,” he confesses, but this week — as the film was about to be released — he finally sent Schifrin his version of the “Mission” theme. He’s on pins and needles waiting for a response.
Jeżeli na dniach wyskoczy info, że Lalo się przekręcił, to wiemy komu dziękować.
Miejmy nadzieję, że do tego nie dojdzie, ale wtedy to Balf byłby znany jako ten przez którego przekręcił się Lalo Schifrin.
Jednego możemy być pewni przeszedłby wtedy do historii
Najbardziej przerażają w tym artykule te fragmenty:
"It took nine months of writing music, 30 full days of recording at two major London stages, and nearly 300 musicians and choristers to realize Balfe’s sonic vision. And nearly every moment in Balfe’s two-and-a-half-hour score derives in one way or another from either Schifrin’s famous main theme or his secondary theme (“The Plot”) from the original 1960s TV show." "Paramount president of motion picture music Randy Spendlove notes “it quite possibly could be the largest gathering of musicians ever for a Paramount movie. " "Balfe worked closely with McQuarrie and editor Eddie Hamilton throughout shooting and during post-production – in fact, he was writing “next door,” enabling him to supply music demos while they edited the film. “It allowed for constant experimentation and there wasn’t the usual fear of having to deliver immediately,” Balfe says. Cruise also stopped by and offered “a lot of feedback and suggestions.”"
Chłop miał 9 msc na to, armię muzyków, a wyszło jak samplowe gówno. No chyba że w artykule ściemniają...