Adam pisze:Mystery pisze:Wawrzyniec pisze:
Solidna ścieżka. Niby nic wielkiego, ale posiada dobry action score, coś się dzieje. Ma niestety trochę syndrom Briana Tylera i po pewnym czasie człowiek czuje się tym wszystkim przytłoczony. W każdym razie zdecydowanie lepsze to od debiutu pozaserialowego Morrisa, czyli "Immortals". Porządny score.
3,5/5
Myślę, że dla miłośników RCP jest to pozycja obowiązkowa, tych dzisiejszych jak i tych tych spod znaku "Media Ventures". Temat przewodni w duchu starego dobrego Hansa, a sama muzyka miło czerpie z akcyjniaków z lat 90. Początek jest bardzo w porządku, a 10 minutowe "White House: Ground Attack" robi nie małe wrażenie, szkoda, że po nim wszystko się rozdrabnia i mamy głównie taką tapetkę pod skradanie i na kolejną atrakcję będziemy mieli dopiero na końcu, fajne patetyczne "Day Break / We Will Rise / End Credits". Ocenie 3.5 nie mam nic przeciwko i sam taką daję, choć znacznie odchudzonemu materiałowi
http://www.youtube.com/watch?v=1IcsehNTFMY
b.miłe zaskoczenie po koszmarku Jackmana. Młode RCP at his best, w stylu i brzmieniu jakie lubię najbardziej. fajnie się tego słucha, szkoda że Morris ma tak mało projektów, a większe od niego lamy ze stajni robią film za filmem... szkoda że nie ma tłoczonego, bo nawet bym na jakiejś promocji to zakupił. ot taki kolaż, naciągając, Hansa i Powella z lat 90 w ciut słabszym wydaniu. wszystko fajnie wykonane przez pepików i ich chór. 3,5/5 można dać.
Music Composed by Trevor Morris ·
Executive in Charge of Soundtracks for Relativity Music Group: Jason Markey
Music Coordinator for Relativity Music Group: Ian Broucek
Score Produced by Trevor Morris
Score mixed at Trevor Morris Studios, Santa Monica, CA
Score Mi xed by James T. Hi ll
Additional Mi xing and Production by Phil McGowan
Music Team: Stuart Mi chael Thomas, Robert Lydecker, Steven Ri chard Davis, Steve Tavaglione, Mel Wesson, Todd Haberman
Featured Solo Trumpet: Chris Tedesco
Featured Guitarist: Aaron Kaplan
Featured Electric Cellist: Ti na Guo
Featured Piano: Trevor Morris
Music Supervisor: Selena Arizanovic ·
Technical Supervisors: Tyler Westen, Justin Thompson
Assistant to Composer: Shaina House ·
Orchestra & Choir: The Slovak National Symphony Orchestra, The Lucnica Chorale
Recorded by Peter Fuchs, Martin Roller ·
Orchestra Coordinator: Paul Talkington
Orchestrator, Conductor: Allan Wilson ·
Soundtrack Mastered by Stephan Marsh at Marsh Mastering
" I think everyone in the movie business must, to a certain extent, 'love' movies. It seems obvious to say, but it's not always apparent in this industry. Strange as it seems.
I bring it up because of the many things I discovered Antoine Fuqua and I have in common, is a deep seeded absolute unequivocal love for the movies. We're both constantly fans and professionals at the same time, and often talked in our score meetings about great movie moments we liked and connected with.
'Olympus Has Fallen' was a joy to work on, due largely to the captain and collaborator I found in Antoine. There was never a moment when we weren't both making the 'same movie' both working toward digging deeper to make the experience of Olympus both real and exciting. It was my kind of journey, one I am grateful to have been part of.
Antoine allowed and encouraged my musical concept of being both un-apologetically orchestral and (dare I say) 'old school' in it's melodic approach... and at the same time create something 2013, something hybrid, modern, something 'now'. To my ear, that blend is what makes the score to Olympus so unique.
We journey musically from a sweeping american flag and vistas, to the visceral attack on our White House (both air and land), into the 'subterranean' depths of the P.E.O.C. bunker and a dystopian White House, and back up to daylight again.
We found our way to a blend of aleatoric orchestral 'tension strands' over beds of deep, dark electronic layers to create the feeling of being captured and held hostage in a bunker that was designed to be a save haven. It gives the feel of constant unease and pulsating pressure that won't let you go.
Antoine loves music. It's something you can't fake. He connects with its energy and has immediate insight into how that music marries with the story and images on screen. It's a huge gift as a composer to have that in a director. We both talked about wanting to 'feel' as much as possible throught the movie. Our goal was to create a score, a film, that felt real, felt possible it could happen. We live in a post 9/11 world, so there isn't much disbelief to suspend for a movie like this.
I write this just as we finished watching the finished movie down for the first time before it goes to print. It's a great ride and hopefully this collection of music brings you back to the story and experience that was 'Olympus Has Fallen'.
Thanks for listening,
Trevor Morris "
Na otwarcie dostałem po uszach koszmarnymi syntezatorami z epoki i równie koszmarnym katarynkowo-dziecięco-cyrkowym tematem, a na zakończenie już wszystkie te koszmarki kochałem, w międzyczasie dostając po uszach najlepszymi action cue-sami ever, no może przesadzam, ale dobre były, tak to tylko Jerry potrafił 
Toż właśnie Klaus Badelt i Trevor Rabin, ładnie widnieją jako: No more at Remote Control (or MediaVentures).
