JOHN OTTMAN - JACK THE GIANT SLAYER (2013)
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Michał Turkowski
- Zdobywca nieistotnych nagród
- Posty: 1259
- Rejestracja: sob wrz 15, 2012 13:45 pm
Re: JOHN OTTMAN - JACK THE GIANT SLAYER (2013)
Ode mnie tyle na temat "Jacka" :
MIAZGA !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
DAWAĆ NA CD !!!!!!!!!!
MIAZGA !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
DAWAĆ NA CD !!!!!!!!!!
Re: JOHN OTTMAN - JACK THE GIANT SLAYER (2013)
to jest miazga? oj Turek 
dobry i poprawny score i najlepszy Ottmann i tyle - jakkolwiek to brzmi 
dobry i poprawny score i najlepszy Ottmann i tyle - jakkolwiek to brzmi #FUCKVINYL
Re: JOHN OTTMAN - JACK THE GIANT SLAYER (2013)
Parafrazując 
, "Turek jest jak Clamensen - usłyszy symfonikę u Hisaishiego i Ottmana i już że geniusz "
, "Turek jest jak Clamensen - usłyszy symfonikę u Hisaishiego i Ottmana i już że geniusz "
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bladerunner22
- Zdobywca Oscara
- Posty: 2805
- Rejestracja: ndz sie 21, 2011 14:16 pm
Re: JOHN OTTMAN - JACK THE GIANT SLAYER (2013)
Przesłuchałem parę razy i ciężko o bardziej kreatywny post od Mystera, generalne idzie się zgodzić. Może ciut niższa ocena, wolę Silvestra ost ciutMystery pisze:MASYWNA, oldschoolowa, śmiała ściecha. Raczej nie będzie to score do którego w całości będzie się wracało z przyjemnością i zwiewnej przygody i magii tu jak na lekarstwo, ale fani ciężkiego brzmienia, nie cackającego z narządami słuchowymi słuchaczy Goldsmitha czy Younga powinni być już tu zadowoleni, gdyż bardziej, niż familijną produkcję, muzyka ta przypomina horror z najgłębszych piekielnych czeluści... Z oryginalnością raczej na bakier, nie znam co prawda na pamięć twórczości Ottmana, ale poza wieloma chwytami danymi Jerry'emu, pewne pomruki Williamsa, Hornera, a nawet Giacchino, (druga część "Goodbyes" = "Labour of Love" ze ST) i Desplata (fortepianowy fragment ostatniego utworu brzmi jak spod jego ręki) są tu słyszalne. Temat przewodni jest jednak fajny i w główce zostaje, szkoda tylko, że John tak skromnie go używa, a o potężnych aranżacjach i asystowaniu przy muzyce akcji lepiej zapomnieć, choć gdzieś tam z kilka razy w mniejszej krasie lekko mrugnie ("Beanstalk Falls", "Chase to Cloister", "Sniffing Out Fear"), ale ekspresji z pierwszego utworu z tymi obłędnymi trąbkami w rozwinięciu, niestety już tu nie uświadczymy. Muzyce brakuje nieco własnego charakteru i lżejszego oddechu, a ponad 70 minut materiału z pewnością nie pomaga i jak dla mnie jest to momentami bardziej półka "Percy Jacksona" Becka, niż "Johna Cartera", o rozrywkowości "Journey 2" nie wspomnieć. Mimo, widocznych niesnasek i tego, że może nie wszystko jest takie jakie by się sobie życzyło to jednak lubię tego nowego Ottmana, ale od piątek Clemmensena byłbym jednak daleki. Jest to muzyka upichcona według wszelkich przepisów potężnych scorów fantasy, choć polana nieco ciężkostrawnym sosem i nawet jak dla mnie bywało miejscami za głośno, hermetycznie i agresywnie, sporo tracków jest mało zjadliwych i jakichś super highlitów ta ścieżka raczej nie posiada i na pewno, bacząc na samo działające na wyobraźnię nazewnictwo, nieco rozczarował mnie track "The Battle" i "Chase to Cloister" jest tu chyba najlepiej dającym wycisk utworem, od początku do końca, sprawiającym największą symfoniczną frajdę, choć ogólnie cały 20 minutowy finał stoi na wysokim, pełnym wrażeń poziomie i sam Goldsmith by się takiego zwieńczenia nie powstydził. Co do wykonania to jest to absolutna światowa klasa, poziomem orkiestracji wręcz porażająca, a wejściami chóru gniotąca ("The Beanstalk Falls"!) i nic tylko się cieszyć, że wciąż takie muzyczne oprawy powstają, a producenci "Hensel & Gretel" i innych "Tytanów" niech słuchają i się uczą, że RCP nie jest lekarstwem na wszystko, a już na pewno nie na taki gatunek kina
Jedna z najpiękniejszych piosenek Lady Pank :
''Zabić Strach''
''Zabić Strach''
Re: JOHN OTTMAN - JACK THE GIANT SLAYER (2013)
wypowiedź Ottmana z bookletu:
There aren’t many current films that give license to classically styled scores. But Jack the Giant Slayer is one of them - a throwback to vintage adventures and the perfect invitation to compose broad music that tells a story and wears its intent on its sleeve.
Jack is a departure from other films with director Bryan Singer. Past projects required music to ride a sensitive line, conjuring up psychological ironies buried deep in subtext. Having acclimated to that type of writing, it took some adjustment for us to embrace that the music for Jack needed to reflect time-honored themes: good versus evil, magic, a love story and an unlikely hero. Even so, I didn’t want the score to be cutesy or cliché. Instead, the aim was to push the music to reflect the gravitas of a world we took seriously. Too frivolous and the movie would be dismissed; too serious, the experience would become a downer. So there’s always a line, and this was the one I was riding on Jack .
There are four main themes: Jack’s, the love theme (or Isabelle’s), Roderick’s, and the crown. For the giants, I wanted an instantly recognizable primal motif. This became what we called the “boom clack” (A taiko drum slammed on the skin and then on the side with sticks, often surrounded by clashing woodwinds.) The beans also have a brief motif with solo tremolo strings, glockenspiel and choir. Roderick’s playfully sinister music features dulcimer and rising classical chords. These two themes are a casualty of an edited album. But some moments remain.
Initially, the love music for Jack and Isabelle was to simultaneously serve as the film’s main theme. Only until very late in the game did I realize that even when Jack shared scenes with Isabelle, the film had to be told from his perspective. But what was his theme? I didn’t like a motif I’d written for him, so after months of writing and only a couple weeks left before recording, I had to find his sound. A friend from Sweden, following my composing saga, texted me everyday asking, “Well, do you have Jack’s theme yet?” And I kept responding “No! No! What am I going to *&*% do?!”
Jack’s music had to be heartfelt - a poor orphaned boy stuck with a grumpy uncle. It also had to imply hope and be able to evolve to become triumphant and jubilant. The eureka moment came when reviewing a scene where Jack’s horse, Anser, returns. There was a theme hiding in what was written. I reworked it into a rudimentary iteration. When Bryan came over to review the scene, he immediately looked over to me and said, “There’s Jack’s theme.” To which I answered grumpily, “Yes, I know, I know.” “Well you have to put it everywhere .” “Yes, I know I know! I am working on doing that!”
So began the process of sifting through the entire score and rewriting Jack’s moments. In a few cases I recorded both original and new versions, about 115 minutes of score. But there was one more thorn in my side: The logo music (“Logo Mania”). My coeditor Bob Ducsay and music editor Amanda Goodpaster kept breathing down my neck to write something for all those logos, but I was completely fried. “Yeah, well YOU try it!” I snarled. So I hunkered down and wrote all night to find myself asleep on the floor in the morning. The irony is that this cue became a favorite and was even used again to replace elegant music I’d written over the final pullout of London in the end.
Although Jack is a simple story, it was easily the most overwhelming two-year experience of my career as editor/composer. Designing motion capture sequences with live-action is not only asking for a brain aneurism, it’s like the whack-a-mole game or being in a kiddy pool chucking out water while more pours in from behind. If I could just get enough water out of the pool, I could start writing. Thank God for my editing collaborator in Los Angeles, Bob Ducsay, who was not only a constant source of encouragement, but helped ease the editorial pressure. Also thanks to my ever positive and supportive main orchestrators, Rick Giovinazzo and Jason and Nolan Livesay. I couldn’t have kept re-writing without you!
John Ottman
January 25, 2013
There aren’t many current films that give license to classically styled scores. But Jack the Giant Slayer is one of them - a throwback to vintage adventures and the perfect invitation to compose broad music that tells a story and wears its intent on its sleeve.
Jack is a departure from other films with director Bryan Singer. Past projects required music to ride a sensitive line, conjuring up psychological ironies buried deep in subtext. Having acclimated to that type of writing, it took some adjustment for us to embrace that the music for Jack needed to reflect time-honored themes: good versus evil, magic, a love story and an unlikely hero. Even so, I didn’t want the score to be cutesy or cliché. Instead, the aim was to push the music to reflect the gravitas of a world we took seriously. Too frivolous and the movie would be dismissed; too serious, the experience would become a downer. So there’s always a line, and this was the one I was riding on Jack .
There are four main themes: Jack’s, the love theme (or Isabelle’s), Roderick’s, and the crown. For the giants, I wanted an instantly recognizable primal motif. This became what we called the “boom clack” (A taiko drum slammed on the skin and then on the side with sticks, often surrounded by clashing woodwinds.) The beans also have a brief motif with solo tremolo strings, glockenspiel and choir. Roderick’s playfully sinister music features dulcimer and rising classical chords. These two themes are a casualty of an edited album. But some moments remain.
Initially, the love music for Jack and Isabelle was to simultaneously serve as the film’s main theme. Only until very late in the game did I realize that even when Jack shared scenes with Isabelle, the film had to be told from his perspective. But what was his theme? I didn’t like a motif I’d written for him, so after months of writing and only a couple weeks left before recording, I had to find his sound. A friend from Sweden, following my composing saga, texted me everyday asking, “Well, do you have Jack’s theme yet?” And I kept responding “No! No! What am I going to *&*% do?!”
Jack’s music had to be heartfelt - a poor orphaned boy stuck with a grumpy uncle. It also had to imply hope and be able to evolve to become triumphant and jubilant. The eureka moment came when reviewing a scene where Jack’s horse, Anser, returns. There was a theme hiding in what was written. I reworked it into a rudimentary iteration. When Bryan came over to review the scene, he immediately looked over to me and said, “There’s Jack’s theme.” To which I answered grumpily, “Yes, I know, I know.” “Well you have to put it everywhere .” “Yes, I know I know! I am working on doing that!”
So began the process of sifting through the entire score and rewriting Jack’s moments. In a few cases I recorded both original and new versions, about 115 minutes of score. But there was one more thorn in my side: The logo music (“Logo Mania”). My coeditor Bob Ducsay and music editor Amanda Goodpaster kept breathing down my neck to write something for all those logos, but I was completely fried. “Yeah, well YOU try it!” I snarled. So I hunkered down and wrote all night to find myself asleep on the floor in the morning. The irony is that this cue became a favorite and was even used again to replace elegant music I’d written over the final pullout of London in the end.
Although Jack is a simple story, it was easily the most overwhelming two-year experience of my career as editor/composer. Designing motion capture sequences with live-action is not only asking for a brain aneurism, it’s like the whack-a-mole game or being in a kiddy pool chucking out water while more pours in from behind. If I could just get enough water out of the pool, I could start writing. Thank God for my editing collaborator in Los Angeles, Bob Ducsay, who was not only a constant source of encouragement, but helped ease the editorial pressure. Also thanks to my ever positive and supportive main orchestrators, Rick Giovinazzo and Jason and Nolan Livesay. I couldn’t have kept re-writing without you!
John Ottman
January 25, 2013
#FUCKVINYL
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Mefisto
Re: JOHN OTTMAN - JACK THE GIANT SLAYER (2013)
Faktycznie solidny score. Filmu nie widziałem, bo oczywiście musieli z dubbingiem dać, ale na płycie brzmi nieźle, choć sam album lekko się dłuży i ma nieco zbędnego materiału. Ale tak 3,5-4 / 5 spokojnie można dać, bo atrakcyjna muzyka z rozmachem.