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Sunday, August 3, 2014

Score Board: guardians of the Galaxy

While the average viewer does not automatically handle this, the overall sound of the film is decisive for our pleasure. As regards the composers, it's almost like it's engineered their own movies from filmmakers, increased activity, the whimsical drama, and cells for romance. What is unique about hearing the music, film, then home and hears themselves. Mark a large composition is a movie that perfectly complement the independent listening, creating new images of all of your own in your head.

This week we are going back into the world of Marvel for a song in the heart of the guardians of The Galaxy, from regular collaborator James Gunn Tyler Bates. Bates is known for a more modest Genre stuff, so is very familiar territory for him, as Marvel is trying to, at least one of its decorated composers yet. There are many things to discuss, and it can be dull, spoilers, let's try not to mention when some plot details.

Who is responsible?

Tyler Bates is on the loose, moving between two worlds, television, movies and video games, often contribute only one track or two. His score for horror films such as the Devil's rejects, see No Evil and Halloween tend to be minimalist but heavy, relying on atonal, grinding vibration. He has been to capitalize on new horizons in the mid-aughts in his work with Zack Snyder: he melded electronic material with traditional Horn orchestration based on 300. But his most ambitious enterprise was the policemen, which spotlights a variety of skits and the proposals of the other score, from the dreamy electronic vibration of Vangelis ' Blade Runner's themes in the relentless sound work of the Dark Knight Hans Zimmer. Surprisingly, Bates did not appear on the soundtrack for three years, his last work credited film was for little thriller The Darkest Hour. This is his third collaboration with Director James Gunn, the following slide and Super.

What is that sound? Bates scores are usually overshadowed by the collaboration with the directors, who adore the pop-music. Such as Bates may not provide as much recorded material as some other composers, when working with someone like Gunn or Rob Zombie. However, the tone will be part of the creation of this world, so Bates was large, producing a series of sloppy, big budget tracks that give the audience a tough sell, looking for the General Genre of excitement. Although the guardians of the Galaxy has a number of pop music recorded moments, there are a few action scenes that need great songs for it, as is the tradition with a great sensation.

The end result is quite anonymous, in fact, and it would not be surprising if more powerful moments are borrowed from other composers: it seems that huge chunks of this score to borrow from Brian Tyler work on Thor: the dark world, while also feeling crowded Alan Silvestri Avengers glory there. There is no consistency of the tracks, as if Bates is trying on different cliche stunt, such as staccato violin of crescendos or vibrating synth. Listen to independent, separate from the film feels like a few score playing all at once, no one too inspired. Bates wins a prize, the majority of the writing no more interesting rhythms make considerable callbacks, and many simply dissolve thoroughly into each other.

Do you feel with the Marvel movies, for now, composers were aided by the fact that the heroes of some of the films were easier to understand, well defined, which leads to the slightly an anthemic compositions. But no one knows the guardians, which means that the Bates needed to find meaning to a relatively amorphous team concept. What could have helped was Gunn insistence that Bates to upload a couple of tracks in advance so that it could make a movie with the original kernel. It is easy to imagine most of this music that Bates just had no idea what he was scoring.

Standout tracks:

The character gets his own theme of Groot and wonderful moment in the film, where he shines light for the crew, a beautiful, muted version of the game, called Groot keys. Surprisingly it's smaller moments of the score, not the Bates forte, that shines the brightest, and this seems to effectively combine the sound of a big studio with its own minimalist, low budget Bates synth feel.

How it plays in the film:

As mentioned earlier, the moments with Groot bot, mainly because they do not speak too much, allowing his theme to resonate. The schranzu songs underline the action sequences of the film quite well, with the main theme of surfacing during a moment of heroism. But mostly, it is not necessary to hear the music, often recedes into the film considerable pop-music catalog.

The perfect listening:

Your child needs a super heroic music for the presentation of the school, but you don't want to play too familiar? Bingo. Your child will love you.

What's in my IPod?:

-Tyler Bates, the Watchmen: I went with the men in the hope that it would make some sense for a new South Africa concert Bates. Bates's work on this film remains unparalleled, one of the undervalued element of the controversial film. Each character gets his own theme, and you can tell where and what classic films, from which they are derived.

-This, Duna: it was a bad idea to use the soft rock band score vaguely European epic? Maybe there is just nothing complicated or far-reaching as Frank Herbert source material. Divorced from the era, though, it is fun to listen to, he leaned on the more classical approach with elements of rock, strewn about.

-Fernando Velazquez, Hercules. Inexperienced Valezquez delivers a scores of swords and sandals adventure really corny old school. I listened to it several times and it is really simplistic and engrossing, fun time nowhere with a limited sonic experimentation. Listen, if you want to March into battle, but I don't want the final result.

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