@Brad LaForme
Iggy mentioned Vangelis and his ground breaking work on BR. To me even more ground breaking was the preceding Chariots of Fire. Why? Because the story wants your typical Hollywood producers and executives to want something fast and loud as a main theme. "After all its a movie about two runner athletes. It has to be fast ..." Well, nope. Vangelis did the exact opposite. The movie's main theme is essentially an electronic ballad which pretty much gives the sense of floating when listening to it, even now 35 years later. It also brings a sense of victory to mind and thoughtful happiness. Good thing they stuck with Vangelis at the end, as this is one of the few movies that is remembered more for its soundtrack than the movie/plot itself. Needless to mention Vangelis, a Greek guy striving in a foreign land, grabbed the Oscar as well. So what's my point ? You don't have to be obvious or pompous to make an impression or to "picture" certain emotionally strong circumstances. Music as any other artform needs the hidden meanings and metaphors as much as it needs the various obvious atmosphere to be presented there as well. The correct combination leads to success imho. I really like what you did,you do have the "sense of the moment" which is much needed for soundtrack writers, so as mentioned by others you are certainly on the right track. My only observation would be less is more. Less impacts, more thought to where you bring those huge sfx. I once co-produced an album with a legendary producer and among others he taught me one thing. When you want to drop a bomb, find the correct spot for it and bang! If you keep dropping it every 8 bars or so, it will soon become obsolete to the ears, you will only tire the listeners who will soon lose interest to what they 're listening to.
Keep up the good work mate and good luck
Happy new year

 

I thought FURY ROAD had a pretty decent score, though I preferred (no, not that) Brian May's score to ROAD WARRIOR.

 

Excellent post/point! I say BLADE RUNNER was more ground-breaking, only because he used synths in a way no one had really ever heard before: as layered orchestral instruments that managed to sound both familiar and new at the same time. It was a lot more complex than the average synth score of that era, as Vangelis only partially-relied on sequencers and recorded most of it live to tape and added "real" instruments, like percussion and saxophone. It really encapsulated the 30's noir/80's sci-fi vibe of the film itself. I don't even think Ridley Scott knew what he had on his hands when Vangelis delivered that score, as he later admitted in the liner notes to the '95 CD release.

 

my all time favorite film... i hope the didn't completely fuck up on the remake.
Totally like what you did. With a little 'vangelesque' influence in the epic ending.
Bringing me to that ending theme from 1:17, thats great. i'd use that as the guiding theme. bringing it it in reduced variations from the beginning. Somehow you already did that, but it doesn' stick out. For my taste there are too many musical ideas compeding.
and i personally woudn't see clichees as a problem. most soundtracks completely rely on clichees, and trailers even more.

 

Yes, i do agree. The only reason i said Chariots was more groundbreaking is because he did the opposite of what the producers aka "the money" imagined as appropriate. I have to admit, musically Blade Runner is indeed a deeper experience anyway you look at it. And of course you are spot on he doesn't like sequencers much, even to this day. He prefers to play it all live. His latest setup http://s11.postimg.org/6q5mb21qb/image.png says it all heheh.
Cheers

 

Thx ArticStorm I appreciate enormously And I would gladly do it!

 

I caught a video not long ago of him performing an elaborate orchestral piece live in his studio. I know how he did it, but not how he did it. I'm lucky if I can play two synths at once, let alone command 9 or 10 and somehow come off sounding like an entire orchestra.

 

Many thanks Taskforce !
for the little story on the chariots of fire that I did not know
and for your precious advices of your skill !
i will follow it for the next work, very nice for give me a bit of your time in this constructive answer !
and Happy new year too !

 

yes me too i prefer the old socre because that give more style like an opera i found which in the end gave a real unexpected contrast to the genre at the time I find a bit in 2001 A Space Odyssey.

 

I agree, it's a very operatic score, lots of horns. I always lump it in with Basil (the original CONAN THE BARBARIAN and original ROBOCOP) Poledouris' work.

 

yes amazing Movie Scores I have all of these one in my Itune !!
Cultural Heritage.

 

hELLO Plendix
yes you right at the begin i think maybe a bit too musicaly than original trailer.
Thx for your feedback too !

 

can you post the video please ?

 

I know i'm not Iggy but here it is

And this to show the magnitude of the person

And please don't forget the epic 1492: Conquest of Paradise

 

Last edited: Jan 3, 2017

thanks you anyway !

 

1492: CONQUEST OF PARADISE was another great one, even if it was more orchestral-sounding than his other work. It seems to me there were a couple of places where you could hear synths, but it was mostly a "traditional orchestra" sound and a choir.

 

haaaa yes i'm agree with you and also very good movie with a unlikely casting!

 

I liked the movie quite a bit, but Depardieu was definitely a strange choice (like HIGHLANDER casting, where they had a French actor play a Scotsman and a Scottish actor that played an ancient Egyptian who spent hundreds of years in Japan and was posing as a Spaniard). It's one of those movies that everybody forgets about until it's on cable at three in the morning and you wind up watching the whole thing and thinking "Why don't more people know about this?"

 

For me according to what I remember it is kind of film in finaly that does not fit into a box even though it is a basic biographical film its making process or his OST do I find a movie genre of cinema.