Alexandre Desplat - Godzilla (2014)

[Templar]

A ja mam to w dupie.

[Koper]

Bardzo mnie intryguje jak Wojtek poradzi sobie z tym trudnym zadaniem?

Tzn.? Dostał termin napisania recki do końca roku?

[hp_gof]

Doug Adams ‏@DougAdamsMusic 2 godz.
I doubt I'll find anything in cinemas more amusing this summer than #Desplat shouting the pitch of #Godzilla's growl back at him via brass.

A Broxton jednak dowalił 5 gwiazdek
http://www.amazon.com/review/R3KB90I91G ... B00JHH2140

[Mefisto]

http://muzykafilmowa.pl/recenzja,964,godzilla.html

[Koper]

„Godzilla” obok „Noego” Clinta Mansella i „Niesamowitego Spider-Mana 2” Hansa Zimmera świadczy o jakimś niespotykanym wybuchu oryginalności w muzyce do hollywoodzkich megaprodukcji.

Ten wasz recenzent to się chyba wczoraj urodził

[Wojteł]

Tutaj dwa trailery z inną muzyką. Pierwszy wypada ciekawiej - gość wykorzystał tematy Ifukube, ale sam je przearanżował, ujmując im bombastyczności dodając modne w trailerach uderzenia w bębny

http://www.youtube.com/watch?v=KaIWJNbk-1c

A tutaj koleś zwyczajnie podłożył muzykę Ifukube. Średnio to pasuje, bo wykorzystał najbardziej japońsko brzmiący score Ifukube ze wszystkich jego filmów o Godzilli, poza tym w oryginalnym zwiastunie był Ligeti i bardziej to pasowało.

http://www.youtube.com/watch?v=xiJBiqfu2Ag

[Kaonashi]

Taka przeróbka wiadomo, że nigdy nie będzie idealna, ale tutaj w miarę przyzwoicie to zmiksowali z oryginalną muzyką Ifukube:
http://www.youtube.com/watch?v=1rv5c8A_5M8

[Wojteł]

Oto. http://filmmusic.pl/index.php?act=recki&id=1651

[hp_gof]

Ujdzie

[Koper]

Wotas ostro pojechał z ocenami.
Teraz Paweł doniesie swoim kolegom zza oceanu i będą się spuszczać przez miesiąc, jak to jakiś Polaczek śmiał wystawić *** tak świetnie zorkiestrowanej pracy.

[bladerunner22]

dobra recenzja

[hp_gof]

Jak na pisaną na kolanie to wyśmienita

[Wojteł]

Zaraz tam na kolanie...

[hp_gof]

Ważne, że już sporo komentów nabitych!

[hp_gof]

Wygrzebałem z fejsa. Papież tłumaczy Olka z Godzilli

Nicolas Godefroy I saw the movie in iMax 3D...No offence, but I didn't like it, and I thought the score was a bit outdated, not very catchy, lacking the grandness that this kind of movie should have, and I couldn't really feel the giant orchestra as described in the making of the music (maybe a mix issue). I think compared to Pacific Rim, Godzilla is way way behind musically and visually. Furthermore, after seeing Pacific Rim, I could remember very well the main theme, even after couple of days. In Godzilla, the ONLY scene that I thought was memorable, was the scene when the military guys fall from the sky with a red trail of smoke, but correct me if I'm wrong, the music sounded way too close to the score of Ennio Morricone for "Mission to mars". Conrad will know what scene I am referring to in that movie. Anyway, that is just my point of view, I usually love Mr Desplat's music...

Conrad Pope Dear Nicolas Godefroy: Happy you saw the film, sorry that you didn’t enjoy the film or Alexandre’s score more than you did. Knowing that you are a fine film composer yourself, I read with interest your critique. While I appreciate that you don’t find AD’s score as effective sonically, orchestrationally, and cinematically as Ramin Dwadji’s music in PACIFIC RIM, I feel compelled to say a few words regarding Alexandre’s approach--- if not as a defense, than as an appreciation. RD and AD are obviously two different composers aesthetically, each with clearly different musical interests and methods as composers. Ramin’s approach—and please forgive the simplification--- is extraordinarily direct and powerful--- with every element crafted toward achieving that ultimate goal. RD’s harmonic language conveys that “directness” and “boldness”, as does his driven, propulsive rhythms. All fine. This is not just a valid approach, but also a very effective one in RD’s hands. Alexandre is a much different composer, with different goals and interests both as a composer and as a musician. Alexandre while using a “large” orchestra, he doesn’t treat it “monolithically”. While Alexander does use the orchestra to create a “big noise” in many of the cues, that is only one of the reasons for his choice of such large forces, for it is also true that AD thinks “coloristically”, both in terms of instrumental timbre, as well as harmonic color; therefore sometimes the orchestra is used in a “chamber way”. Also, harmonically, he tends to write quite “densely” at times, with many notes/pitches in his chords. I find that AD is interested in complex harmonic effects, and as you know as a composer, the more “voices” and divisi one has in the orchestra, the more the sound becomes about color rather than weight (more like “painting” rather than “sculpting”). Indeed, in this score, the woodwinds are NOT written for in a traditional way. For the most part it is a “low” woodwind section. Alexandre is a very sophisticated composer and even though he is a “composer for film”--and the film and its story are always his primary concern-- he nonetheless writes quite sophisticatedly. I understand, Nicolas, if you find that “old fashioned” (though I believe that the director and producers wanted an approach which would be more “classic” than “contemporary”). Luckily, films can be scored many, many ways. The HALO cue you refer to is actually by Ligeti (another composer who, in the grandest of traditions of the 1960’s “atomizes” a Strauss sized orchestra, with multiple divisis). The music in the orchestra—because of this chamber like approach—made the performance of this score quite a challenge--- hence all the praise you may have read from me regarding the musicians who performed this score. It was NOT film music as usual. In any case, I hope you give the score another chance--- at least to hear it for what it is and forgive it for what it is not. Best-CP-