Big Fish is easily my favorite Tim Burton film, with it's beautiful storytelling and great acting, and Danny's soundtrack for the film is also one of my favorites. It's probably not the kind of soundtrack that many would fall in love with right a way, but it's one that will capture your heart and mind if you keep listening to it the whole way through.
The title track is a good representation of the whole soundtrack in my opinion -it starts very silently, and has a sort of shy and insecure feeling to it, yet there's a characteristic curiosity in it that makes you want to turn up the volume so you could hear what it's whispering to you. And what you hear is a very mystical, sad and beautiful story of old, like the one you can see in the eyes of old people. Though there's not to hear there's even more emotion in every sound that creates a very peaceful and hopeful feeling in me. And then in the very end, the uplifting small snipped is bound to get my spirits up.
Most of the tracks are very quiet and hiding behind the silence in a way, forcing you to concentrate in the things they are telling (which is really not a good thing when you're trying to study, as I found out before I started to write this). There are sad stories, mystical stories and those lovely little everyday stories that just brighten the day when you hear them. For these tracks are truly more about telling stories than bringing the movie to life -there simply is more to tell than would fit in a movie. There are some darker stories to tell as well, especially the ones concerning Spectre, with more elaborate tunes and tricks, that take you to whole nother world.
It actually feels rather silly trying to describe what the soundtrack awakens in me -it most likely will be something totally different for you. Big Fish is definitely one of Danny's most skillfully arranged soundtracks, and probably my favorite from him as well -there so much soul in the music. It makes me stop everything I'm doing, because I just want to drown myself in those fragile yet vibrant tunes that take my mind somewhere far away, every track having millions of stories that words can't describe. No, not really actual stories -more like the essence of stories, the golden standards for every feeling. Pure perfection, that's what they are.
Sandra's theme represents the movie most to me, and it also has the most references to other Danny -soundtracks (I heard at least Corpse Bride and Edward in it). The Growing Montage is filled with Nightmare-ish tunes in turn, making it probably the worst track on it's own. It's not bad, just doesn't depict that much feelings without the film material.
torstai 5. marraskuuta 2009
tiistai 22. syyskuuta 2009
Joe Hisaishi - Ponyo on the Cliff by the Sea
Ponyo is another fabulous album from Joe Hisaishi, I could even go as far as claim it's his best one yet. Not because of the theme song (since Totoro's is better :P), but because of all the emotion it has. The movie is hand-drawn in a very simplistic fasion, and there isn't as much visiual aid for your emotions. So they created it all with the sounds and the music -which is very evident from the very beginning of the film as the first track fills the air. Usually only one or two track on a soundtrack has enough emotion to make me stop what I'm doing and just feel the music, but in Ponyo almost every track has that strong emotion attach to it. You don't just hear the effort and work put into it, you feel it with every fibre.
The soundtrack made me once again admire Hisaishi's versatility, how every movie sounds unique and different. Ponyo has a more western feel to it than his previous scores -with western I mean the flamboyance and the power of western composers. The soundtrack is far louder and pushy than his previous work, with a hint of opera and classical in it -mostly reminds me of The Ride of the Valkyries. Though "loud and pushy" gives you the wrong impression about it -it's still very sophisticated compared to some composers. And the more calm themes are as sweet and sincere as Hisaishi's work always is. But you truly have to wonder how such a versatile composer is not more known -I have to admit that Johnny's place as my number 1 composer hero is getting even more iffy with every soundtrack Hisaishi makes :P
Ponyo on the Fish of the Wave is one of the loud and pushy of the soundtrack :P
I do love Hisaishi's previous work as well for it's simple beauty and magical energy, but Ponyo gives such a strong emotional message with it through the whole soundtrack that I have to call it my favorite from him so far.
Chill-moment of the soundtrack: Deep Sea Ranch.
The soundtrack made me once again admire Hisaishi's versatility, how every movie sounds unique and different. Ponyo has a more western feel to it than his previous scores -with western I mean the flamboyance and the power of western composers. The soundtrack is far louder and pushy than his previous work, with a hint of opera and classical in it -mostly reminds me of The Ride of the Valkyries. Though "loud and pushy" gives you the wrong impression about it -it's still very sophisticated compared to some composers. And the more calm themes are as sweet and sincere as Hisaishi's work always is. But you truly have to wonder how such a versatile composer is not more known -I have to admit that Johnny's place as my number 1 composer hero is getting even more iffy with every soundtrack Hisaishi makes :P
Ponyo on the Fish of the Wave is one of the loud and pushy of the soundtrack :P
I do love Hisaishi's previous work as well for it's simple beauty and magical energy, but Ponyo gives such a strong emotional message with it through the whole soundtrack that I have to call it my favorite from him so far.
Chill-moment of the soundtrack: Deep Sea Ranch.
keskiviikko 1. heinäkuuta 2009
Hans Zimmer & James Newton-Howard - Batman Begins
A strong score, I must admit. Very dark and gloomy, fits the movie well. And I like how all the track names are bats. Vespertilio has pretty much all the good themes from the whole soundtrack, because there's a lot of repetition between tracks. Eptesicus covers the other end of the soundtrack being the most versatile of the more sad, slower pieces. A very good track, and the one that gave the chill effect. But again you can hear Zimmer's laziness in the back, the same themes were heard on Gladiator. It makes me bad that a brilliant composer like him re-uses his own stuff.
Myotis is probably the best track if you want that epic piece of music heard in the trailers. Other than that it's not a very special track -all flash and no substance. Barbastella on the other hand is quite versatile, has a lot of everything if you just listen through it.
...This all reminds me so much from another soundtrack, but I just can't figure out what was it.....Darn.
But all in all it's a livable soundtrack, the awesome themes save even the not-so-original ones.
Myotis is probably the best track if you want that epic piece of music heard in the trailers. Other than that it's not a very special track -all flash and no substance. Barbastella on the other hand is quite versatile, has a lot of everything if you just listen through it.
...This all reminds me so much from another soundtrack, but I just can't figure out what was it.....Darn.
But all in all it's a livable soundtrack, the awesome themes save even the not-so-original ones.
torstai 25. kesäkuuta 2009
Hans Zimmer - Kung Fu Panda
A very different story from the last one (Indy), Zimmer's Kung Fu Panda has perfect themes to be listened in the everyday life, but the score didn't really enhance the movie in a particularly awesome way. I do love this though, just because it's a bit different from Zimmer.
The first track, Hero, is a superb strong theme for any day (at least the first half of it). I've listened to it like crazy since I got the soundtrack and still haven't gotten bored of it. The second part of it is a more calm, serene Zimmer which is also a fresh side from his macho themes.
Acutally the whole eastern feel to it suits Zimmer well, he gets to be a little different for a change. There's a lot more softer themes this time, beautiful and peaceful themes, and even the strong and loud themes feel happier than his normal work. Maybe it's because it's an animated film, or because of the setting, I don't know. But I do like it.
Unlike Johnny's Indy, the tracks in Kung Fu Panda aren't too complicated or complex, but of rather simple form. They too are still all over the place, but Zimmer stronger, more attention-seeking style makes them better for standing on their own.
You can hear some of his old manners in the more ominous, action-oriented tracks, such as Tai Lung Escapes. And with that my interest in the tracks goes down as well. Sure they are strong and scary and what not, but the way they demand my attention like a 3-year old child just makes me annoyed. There is a very nice moment in Tai Lung Escapes though, around minute 3, and I do like that he added a little different synthesizer elements in it.
The calm themes are deffinitely the best part of this soundtrack, after Hero that is. There's a lot of emotions in those, a kind of sad serenity. The joyful tracks are also surprisingly fun to listen, it's not something you'd expect with Zimmer's track record.
The shivers -moment of this soundtrack was found from Sacred Pool of Tears, pretty much all the way through it there are moments where I got them, but the first minute was the biggest. The best track of the score after Hero.
I'm a little lazy today so I'll end this one short as well. Mostly because I've listened to these soundtrack a whole lot already, they are no longer new to me. Makes it harder to focus all the way through. But to sum the soundtrack up: Good on its own, good balance of soft, joyful and strong. Zimmer really did a great job with combining chinese and western styles creating a very harmonious and enjoyable mixture of the two. Big minus for the terrible Kung Fu Fighting -cover though.
(HAH! A Lion King moment in The Bridge right before the 2nd minute.)
The first track, Hero, is a superb strong theme for any day (at least the first half of it). I've listened to it like crazy since I got the soundtrack and still haven't gotten bored of it. The second part of it is a more calm, serene Zimmer which is also a fresh side from his macho themes.
Acutally the whole eastern feel to it suits Zimmer well, he gets to be a little different for a change. There's a lot more softer themes this time, beautiful and peaceful themes, and even the strong and loud themes feel happier than his normal work. Maybe it's because it's an animated film, or because of the setting, I don't know. But I do like it.
Unlike Johnny's Indy, the tracks in Kung Fu Panda aren't too complicated or complex, but of rather simple form. They too are still all over the place, but Zimmer stronger, more attention-seeking style makes them better for standing on their own.
You can hear some of his old manners in the more ominous, action-oriented tracks, such as Tai Lung Escapes. And with that my interest in the tracks goes down as well. Sure they are strong and scary and what not, but the way they demand my attention like a 3-year old child just makes me annoyed. There is a very nice moment in Tai Lung Escapes though, around minute 3, and I do like that he added a little different synthesizer elements in it.
The calm themes are deffinitely the best part of this soundtrack, after Hero that is. There's a lot of emotions in those, a kind of sad serenity. The joyful tracks are also surprisingly fun to listen, it's not something you'd expect with Zimmer's track record.
The shivers -moment of this soundtrack was found from Sacred Pool of Tears, pretty much all the way through it there are moments where I got them, but the first minute was the biggest. The best track of the score after Hero.
I'm a little lazy today so I'll end this one short as well. Mostly because I've listened to these soundtrack a whole lot already, they are no longer new to me. Makes it harder to focus all the way through. But to sum the soundtrack up: Good on its own, good balance of soft, joyful and strong. Zimmer really did a great job with combining chinese and western styles creating a very harmonious and enjoyable mixture of the two. Big minus for the terrible Kung Fu Fighting -cover though.
(HAH! A Lion King moment in The Bridge right before the 2nd minute.)
John Williams - Indiana Jones and the Kingdom of the Crystal Skull
Of course I had to start this blog with Johnny. Sorry for the terrible mind-flow thing that's going on, I haven't yet decided how to do this.
For some reason many people hate the new Indy. Can't understand why myself, I think it's great, but that's not my problem. They certainly can't hate it because of the music, at least I hope so, because the score is a solid work from Johnny, as good as his normal work is. I'm a bit annoyed that the tracks are not in chronological order though, makes comparing the movie experience and the listening experience more difficult.
I wonder who wanted to use the whole Riders March as the first track, if it was Spielberg or Lucas or Johnny himself. Not complaining though, it's still fabulous and a good way to make people remember that it's still the same old Indy we knew and loved.
Call of the Crystal, and the tracks alike, is actually very B sci/fi movie-ish, which is the point of the whole thing (those were popular in the 50s, that's why Indy is against aliens in the 50s). A bit scary too. I like it, it's quite simple yet full of little details, as Johnny's things usually are.
I never notice while watching the movie how upbeat and happy The Adventures of Mutt is. It's downright perky! And so full of everything that it's not really a good track to listen on its own (definitely needs a car chase to the back).
Irina's Theme is surprisingly melancholy, and yet properly ominous. I think I detect a hint of Episode III in the background. The Spell of the Skull had some starwarsian elements in it too, but I like how it turns from concerning to scary and back again.
The tracks on this soundtrack are surprisigly long actually, many over 4 minutes there. Most of it has the Indy-curse I guess, the tracks need a picture behind them to work. Not a lot of themes I could listen in the background while writing or surfing the net. There's also a lot of repetition which makes following through the whole tracks a bit of an effort.
Superb beginning in The Jungle Chase! Probably my favorite track on the whole album, it has a good balance of everything in it. There's no track that would cause shivers though, but for a track to do that the movie has to wake immensly strong feelings in me, and none of the Indy-movies does that, I'm afraid.
I do have to say I'm a little disappointed because the soundtrack isn't too great on it's own. But that's how some of Johnny's themes are, they need a very spesific feeling or moment to work their magic. For me to get to that feeling without the movie is a lot harder than with it, so the tracks without a spesific theme become tedious. They fit the movie perfectly though, drawing so much more out from it that the mere picture would. I guess that's his blessing and his curse -Johnny can make the perfect score that will support the movie in a perfect way so the audience will get the most of it, but on its own the music doesn't get the momentum to sweep me away from this material world.
Hidden Treasure and the City of Gold is a mouthful for a track title, and a mouthful for a track too, but it's one of the better ones on the soundtrack, especially the end is very interesting and demands a second listening. That's really what I want for a track, that it wakes my interest and makes me want to listen to it again and again and again. Strong emotions are also something that a track needs to get out of me for it to be good.
Well this has gone long enough. A good soundtrack with the movie, but unfortunately there's really no tracks that could go with everyday listening. However when Fall comes and the evenings get dark and gloomy I can see myself listening to this while sitting in the dark, getting more afraid with the minute. There's some really beautiful and complex parts in almost every track, but for me to have the energy to listen them through it needs to be a more appropriate moment for this, and a beautiful summer morning is not that.
For some reason many people hate the new Indy. Can't understand why myself, I think it's great, but that's not my problem. They certainly can't hate it because of the music, at least I hope so, because the score is a solid work from Johnny, as good as his normal work is. I'm a bit annoyed that the tracks are not in chronological order though, makes comparing the movie experience and the listening experience more difficult.
I wonder who wanted to use the whole Riders March as the first track, if it was Spielberg or Lucas or Johnny himself. Not complaining though, it's still fabulous and a good way to make people remember that it's still the same old Indy we knew and loved.
Call of the Crystal, and the tracks alike, is actually very B sci/fi movie-ish, which is the point of the whole thing (those were popular in the 50s, that's why Indy is against aliens in the 50s). A bit scary too. I like it, it's quite simple yet full of little details, as Johnny's things usually are.
I never notice while watching the movie how upbeat and happy The Adventures of Mutt is. It's downright perky! And so full of everything that it's not really a good track to listen on its own (definitely needs a car chase to the back).
Irina's Theme is surprisingly melancholy, and yet properly ominous. I think I detect a hint of Episode III in the background. The Spell of the Skull had some starwarsian elements in it too, but I like how it turns from concerning to scary and back again.
The tracks on this soundtrack are surprisigly long actually, many over 4 minutes there. Most of it has the Indy-curse I guess, the tracks need a picture behind them to work. Not a lot of themes I could listen in the background while writing or surfing the net. There's also a lot of repetition which makes following through the whole tracks a bit of an effort.
Superb beginning in The Jungle Chase! Probably my favorite track on the whole album, it has a good balance of everything in it. There's no track that would cause shivers though, but for a track to do that the movie has to wake immensly strong feelings in me, and none of the Indy-movies does that, I'm afraid.
I do have to say I'm a little disappointed because the soundtrack isn't too great on it's own. But that's how some of Johnny's themes are, they need a very spesific feeling or moment to work their magic. For me to get to that feeling without the movie is a lot harder than with it, so the tracks without a spesific theme become tedious. They fit the movie perfectly though, drawing so much more out from it that the mere picture would. I guess that's his blessing and his curse -Johnny can make the perfect score that will support the movie in a perfect way so the audience will get the most of it, but on its own the music doesn't get the momentum to sweep me away from this material world.
Hidden Treasure and the City of Gold is a mouthful for a track title, and a mouthful for a track too, but it's one of the better ones on the soundtrack, especially the end is very interesting and demands a second listening. That's really what I want for a track, that it wakes my interest and makes me want to listen to it again and again and again. Strong emotions are also something that a track needs to get out of me for it to be good.
Well this has gone long enough. A good soundtrack with the movie, but unfortunately there's really no tracks that could go with everyday listening. However when Fall comes and the evenings get dark and gloomy I can see myself listening to this while sitting in the dark, getting more afraid with the minute. There's some really beautiful and complex parts in almost every track, but for me to have the energy to listen them through it needs to be a more appropriate moment for this, and a beautiful summer morning is not that.
keskiviikko 24. kesäkuuta 2009
Of Johnny, Joe, and the Rest
Just to name my favorites.
My all time favorite composer is the man who is also the most famous of them all: John Williams. Like all of them, he too has a distinctive style which he sometimes over-uses, but at least his over-use is more subtle (you'll learn that I'm biased when it comes to Johnny). And without him Star Wars, Jurassic Park, Jaws, Indiana Jones, Minority Report, Harry Potter, Superman and so many other movies wouldn't be what they are.
The second place is much harder to give away, but I'm going to go with Joe Hisaishi, the composer for Hayao Miyazaki and the Ghibli Studios. He's work is not always as strong or emotional as the work of the other composers I'll be talking about, but he is more versatile than all of them combined. I'm always amazed how different and fresh his scores are from the previus one. He's also very good at capturing the feel and the soul of the scenes, creating themes that fit the movie perfectly.
After those two I don't really have any favorites. Danny Elfman and Michael Giacchino are both very good, Danny being especially important to me for bringing life to Tim Burton's films. Giacchino's The Incredibles and Ratatouille were fabulous, and he made Alias even more exciting.
Other composers that have made scores that are very important to me include Alan Silvestri, Ilan Eshkeri, Tamiya Terashima, Randy Edelman and Elliot Goldenthal. Nobuo Uematsu is also close to my heart. Steve Jablonsky also seems very interesting.
There's one more composer that needs to be mentioned. My hate-love relationship with Hans Zimmer is closer to love at the moment, mostly because of Kung Fu Panda. Don't get me wrong, Zimmer is a fabulous composer with such gems as The Lion King, Gladiator and King Arthur, and obviously very talented at making strong, powerful themes. My problem with him is that he's lazy. Listen to Gladiator's The Battle, the main theme of Pirates of the Caribbean, and the movie before Gladiator which name I can't remember. Notice how the 'minor theme' of Gladiator is exactly the same as the main theme of Pirates? Frustrating. I love Zimmer when he's original, and hate him when he uses the same stuff over and over again because the producers are too lazy to ask anything different.
Proper entries after this one.
My all time favorite composer is the man who is also the most famous of them all: John Williams. Like all of them, he too has a distinctive style which he sometimes over-uses, but at least his over-use is more subtle (you'll learn that I'm biased when it comes to Johnny). And without him Star Wars, Jurassic Park, Jaws, Indiana Jones, Minority Report, Harry Potter, Superman and so many other movies wouldn't be what they are.
The second place is much harder to give away, but I'm going to go with Joe Hisaishi, the composer for Hayao Miyazaki and the Ghibli Studios. He's work is not always as strong or emotional as the work of the other composers I'll be talking about, but he is more versatile than all of them combined. I'm always amazed how different and fresh his scores are from the previus one. He's also very good at capturing the feel and the soul of the scenes, creating themes that fit the movie perfectly.
After those two I don't really have any favorites. Danny Elfman and Michael Giacchino are both very good, Danny being especially important to me for bringing life to Tim Burton's films. Giacchino's The Incredibles and Ratatouille were fabulous, and he made Alias even more exciting.
Other composers that have made scores that are very important to me include Alan Silvestri, Ilan Eshkeri, Tamiya Terashima, Randy Edelman and Elliot Goldenthal. Nobuo Uematsu is also close to my heart. Steve Jablonsky also seems very interesting.
There's one more composer that needs to be mentioned. My hate-love relationship with Hans Zimmer is closer to love at the moment, mostly because of Kung Fu Panda. Don't get me wrong, Zimmer is a fabulous composer with such gems as The Lion King, Gladiator and King Arthur, and obviously very talented at making strong, powerful themes. My problem with him is that he's lazy. Listen to Gladiator's The Battle, the main theme of Pirates of the Caribbean, and the movie before Gladiator which name I can't remember. Notice how the 'minor theme' of Gladiator is exactly the same as the main theme of Pirates? Frustrating. I love Zimmer when he's original, and hate him when he uses the same stuff over and over again because the producers are too lazy to ask anything different.
Proper entries after this one.
Some Things Random To Start Things Off
Some time ago, on a day far too ordinary and boring for me to remember it, I asked myself a question: Would I rather be blind or deaf? Though choice really, and the obvious answer would have been 'deaf' since I love to read and watch movies and play videogames and ride horses. But I still came to the conclusion that at this moment, with my current knowledge and feelings, I'd rather be blind. I don't know anything about music, can't write it, can't read it, but to live without it... It would feel like what I'm currently listening to (Marco Beltrami's Hellboy OST - Liz Sherman). Because there are no games for me without music, no movies without music. Even riding gets a new dimension when music is added. Sure, books don't have music, but if they did they'd be even better than they are now.
If you didn't guess from that babble or from the title of the blog, this is about soundtracks, and more importantly score-soundtracks. So none of that "songs inspired by Spider-Man" crap, but the real deal, the music that takes the pictures shown and gives it life. Kill Bill and the like are of course a different story. Mostly this will be about movies, but some games are here too. I'll only cover scores I have heard properly, so within the game or movie, because I think a score needs to be judged twice: on it's own, and what it gives to the movie/game it's trying to bring to life. Because to me a score can't be good if it doesn't fit it's purpose.
Well I think this is enough for now, only time will tell how this will turn out.
If you didn't guess from that babble or from the title of the blog, this is about soundtracks, and more importantly score-soundtracks. So none of that "songs inspired by Spider-Man" crap, but the real deal, the music that takes the pictures shown and gives it life. Kill Bill and the like are of course a different story. Mostly this will be about movies, but some games are here too. I'll only cover scores I have heard properly, so within the game or movie, because I think a score needs to be judged twice: on it's own, and what it gives to the movie/game it's trying to bring to life. Because to me a score can't be good if it doesn't fit it's purpose.
Well I think this is enough for now, only time will tell how this will turn out.
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