Posts Tagged ‘score’

Still ‘Goldsmithing’: The Art of Remaining Quiet

April 8, 2014 Leave a comment

Hi there guys, how are you doing?

Back to the Goldsmith studies, the movie of the week was the already-classic (arguably :P) Sci-Fi Total Recall (90) by Paul Verhoeven.

Total Recall

As far as the movie goes it was interesting to re-watch the groundbreaking (at the time) visual effects and some of them hold up surprisingly well even for today standards. Also, Sharon Stone was indeed THE undisputed sex symbol of the 90s. lol But talking about the music score…

I don’t really think it lives up to the novelty of the movie to be honest. It still sounds like a ten-years-old soundtrack, it’s still based on action movies clichés… Yet there’s something to learn here just like in any other Jerry Goldsmith’s soundtrack: silence is gold. :)

This feature caught my attention in Chinatown, but it makes a good deal of sense here too: Mr. Goldsmith leaves room for the dialogues to stand out. New composers frequently think they should provide a barrage of music to fill every single gap with sound… when, like in most cases in art and pretty much everything else, less is more.

Despite not being that remarkable the soundtrack of Total Recall can teach us this lesson–as valuable as any other. :)

See ya, take care!


12 Years A Slave: Sound Design

March 18, 2014 Leave a comment

Hi there, how have you all been?

First of all I must state it makes me sad to belong mankind. Of course, the movie brings nothing new to the table, but facing the fact we can (still nowadays, mind you) be so absurdly grotesque to each other kills a part of me everytime I do it.

That said…

12 Years a Slave

Aside the story, the brutality itself and the strong acting what really makes the movie land its punches in my modest opinion is the sound design–even more than the music score, which would be a more usual emotional artifice in that regard.

Music in such a movie can become a cheap trick if misused; the strenght needed to pass the feelings on lies on being realistic, in… immersing the spectator in sorrow. Seeing blood spilling can be shocking for sure, but hearing whiplashes tearing flesh apart is just plain terrifying–more than anything else. And there’s plenty of loud-and-clear pain to be heard here.

Here’s a trailer but that doesn’t do the sound design any justice, really. I hope you watch the movie and, aside taking technical notes, it serves the purpose of making you ponder on everyone’s deeds and how to make things better for generations to come.

See ya, yake care.

Thomas Was Alone… But Surrounded By Some Beautiful Procedural Music. :)

July 29, 2013 Leave a comment

Hi there, how have you been?

This week I was reading my July issue of Edge magazine and a quick Q&A with the composer David Housden has caught my attention. Luckily the full interview was featured in their site and that’s what I wanted to share here this week. :)

Housden scored a game called Thomas Was Alone, and from the start he had to face the challenge of lending simple, faceless geometric forms some emotion; more than that, the developer asked him to craft a procedural pile of freely randomizable pieces of music–which can be a technical pain placed over the already-tough creative task previously mentioned… :P

Since I’m a fierce admirer of the modular music created by the group Geinoh Yamashirogumi in Akira this couldn’t resound more within me. :)

Take a read and enjoy this short anouncement trailer as you listen to the smooth piano behind it.

That’s it, have an awesome week!

Bernard Herrmann’s Soundtrack for “The Day the Earth Stood Still”

May 20, 2013 1 comment

Hi there, how have you been?

Lately I’ve been reading a book on the history of film music scoring, and as as the book goes I choose a couple films to watch and analyze. This week I went for “The Day the Earth Stood Still” (1951) a sci-fi alien movie which had the fantastic Bernard Herrmann (who worked a lot with Hitchcock) in charge of its peculiar soundtrack.

The film itself is kinda silly–sorry movie lovers lol–but the soundtrack has a good degree of pioneer-ism to it because it’s one of the first times terror tactics were used together with sci-fi ambience. That could be achieved through splitting the OST in two main concepts–pretty much like any art work should be: form and content.

The content is WHAT you want to tell. In music that comes to be the structural pieces of the composition–like harmony, melody and rhythm (roughly).

The form is HOW you tell it. Again, in music that means the superficial characteristics of the recording–instrumentation, arrangement and so on.

Herrmann’s trick here was to use a terror content together with a sci-fi form by choosing electronic instruments (including the theremin) to play ’em. In a certain way it’s like if H.P. Lovecraft decided to make music instead of writing… :P

Give it a listen, I’m sure it’s well worth of your time. :)

See ya, have a nice week!

28 Great Movie Scores Written by Rock, Pop & Hip-Hop Artists

April 15, 2013 Leave a comment

Great content from the Paste Magazine. Enjoy! :)

Paste Magazine

Categories: Articles Tags: , , , , , , , ,
%d bloggers like this: