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Author Topic: News and Social Media posts regarding Alien: Coven...  (Read 396179 times)

Enoch
Oct 01, 2016, 07:51:51 PM
Reply #1200 on: Oct 01, 2016, 07:51:51 PM


My video-musical edit... ;D

P.S. As an avid listener of classical and movie music, I really respect Goldenthals work on Alien3,
his music is awe-inspiring, sinister yet profound , and certainly the best aspect of the whole movie. Totally agree with you.

« Last Edit: Oct 01, 2016, 07:57:00 PM by Enoch »

fiveways
Oct 02, 2016, 12:51:39 AM
Reply #1201 on: Oct 02, 2016, 12:51:39 AM
As beautiful as that studio is and as great as that room sounds, I'm probably the only person here disappointed in seeing photos of an orchestra.

I'm just bored of traditional instruments in soundtracks currently as it always ends up sounding way over the top.  I was hoping for something more pure digital/serialist.  Something really cold and removed feeling and sounds.  I really wanted a more inhuman/out there sound track for this one.

Just because they are writing and recording 'traditionally' doesnt mean they aren't digitally processing or adding effects. Also, while I love electronic scores, its 2016, a digital or electronic score is hardly anything new or groundbreaking. Especially in a Ridley Scott film.
You might be surprised, if you did some digging, just how much of the scores in Alien films were enhanced by digital filters, effect processed and even recorded backwards.

I'm a professional sound engineer with enough signal processing in this room to fill a large u-haul (I have a side business of renting out the rare pieces to local studios).  I understand what they are doing, I was just hoping they were going to go in a really really different direction.  I also understand the amount of processing and sculpting going on in most scores, just it isn't very interesting to me mostly because it isn't completely manipulated or it is weirdly combined with untreated instruments and causes a awkward juxtaposition of sounds that doesn't always work (in my mind and for me).

Suggesting I read up assumes I have zero knowledge, and that is as far from reality as possible.  Just because it is manipulated doesn't mean it is interesting (to me),

Maybe I'll be shocked and enjoy this score, but looking at the composers IMDB credits suggests otherwise. 

I just wish modern scores took a few more risks.  Compose an entire score in something like C-Sound. I also understand that would add a completely inhuman element to the picture, and the general audience wants things they can connect with easily.  I also understand my disappointment in this is the disappointment of a person really into a very specific niche market, and doesn't reflect anyone else on earth but myself.  I'd just love it if something in this genre took cues from say, the Solaris Soundtrack (the Eduard Artemiev 1972 version)  and took it even further (stripping away a lot of the normal elements of it).  I think that vibe would work perfectly for an ALIEN film.

Also, just to clarify I am only speaking for myself.  I understand the majority of people wouldn't be cool with these ideas.

I am also fully willing to admit i am totally f**king wrong on some things, I am actually relisting to the ALIEN 3 score.  It definitely has some really bad ass parts to it.  The Strings I am not huge on, but the drone elements are really nice and expansive.  I've added it to the list of films I need a physical copy of the score of.  There is definitely some really cool parts in there.


SiL
Oct 02, 2016, 08:37:34 AM
Reply #1202 on: Oct 02, 2016, 08:37:34 AM
Most soundtracks are boring these days because A) They're all copies of each other and B) many Hollywood directors these days specifically request the soundtrack not be too noticeable.

Alien's soundtrack has a lot of wonderful unconventional instruments making unconventional noises that I've missed from the series ever since. Going full synth, though, I don't see how it'd be any better (or worse). Just different. There's plenty of shit synth stuff out there.


Necronomicon II
Oct 02, 2016, 09:15:33 AM
Reply #1203 on: Oct 02, 2016, 09:15:33 AM
Agree with Sil, something a little more avant-garde would be most welcome, bring back the eerie and ambient!


T Dog
Oct 02, 2016, 10:46:24 AM
Reply #1204 on: Oct 02, 2016, 10:46:24 AM
Most soundtracks are boring these days because A) They're all copies of each other and B) many Hollywood directors these days specifically request the soundtrack not be too noticeable.

Alien's soundtrack has a lot of wonderful unconventional instruments making unconventional noises that I've missed from the series ever since. Going full synth, though, I don't see how it'd be any better (or worse). Just different. There's plenty of shit synth stuff out there.
If folks haven't seen these videos they'll explain a lot of why modern soundtracks are terrible.




« Last Edit: Oct 02, 2016, 10:49:11 AM by T Dog »

Enoch
Oct 02, 2016, 12:28:04 PM
Reply #1205 on: Oct 02, 2016, 12:28:04 PM
Great analysis, and a very true one! I must admit that I very well remembered the tune of Life track from Prometheus, that french horn intro is very memorable, just saying... maybe thats the indication we ll hear some fine, fresher and bolder music in Covenant, but that doesnt only depend on composer...

P.S. Many people said that Harry Gregson-Williams did a good job on Prometheus (on those two tracks), but his music
was not so appropriate for particular scenes, that is in some extent true, but dont forget that he was not the chief composer on that move, he wasnt even credited... he just did an additional music, and that can be a reason for that music-scene partial mismatch...


I like that syntagm: creative unoriginality ;D It describes the current state of affairs in movie music :)


Speaking of that... isnt all the great movie music copied version of famous classical peaces:

Listen to this:
Sergei Rachmaninov - The Isle Of The Dead
https://youtu.be/VIpdYeexpX0?t=13m49s

and compare it with Harry Potter - John Wiliams
https://youtu.be/1Li0SWlwe34?t=2m48s

And the most ingenious example
One of the greatest soundtracks is also a copy work
Schindler's List Theme - by magnanimous John Williams


Mahler Symphony 8, 1st movement
https://youtu.be/-Wi1j-rpcEw?t=5m31s

 ;D


All is already written, and there is only repetition! ;D ;)

« Last Edit: Oct 02, 2016, 01:40:17 PM by Enoch »

Stolen
Oct 02, 2016, 03:36:59 PM
Reply #1206 on: Oct 02, 2016, 03:36:59 PM


 ;D :)

Psychodelic?
Have you any idea what it could give in a movie like Covenant?
I have a feeling it will be something very special. As the film.



« Last Edit: Oct 02, 2016, 03:47:59 PM by Stolen »

Enoch
Oct 02, 2016, 03:53:59 PM
Reply #1207 on: Oct 02, 2016, 03:53:59 PM
That is indeed psychedelic.

Where did you find that photo?

« Last Edit: Oct 02, 2016, 03:57:13 PM by Enoch »

Stolen
Oct 02, 2016, 03:58:26 PM
Reply #1208 on: Oct 02, 2016, 03:58:26 PM
Do you have an example of kind 'psychedelic' music ?  ;D


Jussie Smollet :
Quote
Can you talk a bit about your character in Alien: Covenant?
(laughs) No, I cannot because I literally signed a phonebook’s worth of [non-disclosure agreements]. I think I have to give up my first-born. But what I can say is that he is a member of the covenant. It’s awesome. Working with Ridley Scott, Michael Fassbender, Carmen Ejogo, Billy Crudup, Danny McBride. Such an excellent crew. I’ve been so blessed in these casts that we are actually cool with each other. I haven’t run into any casts that I’ve worked with where it’s been like, “God, I hate these people! I wanna go home!” It’s always been cool. That was a great time. I don’t know if that answers any of your questions about Alien. It’s going to be dope. It comes out August, 4 2017, and it’s pretty incredible. Kinda scary.

http://talknerdywithus.com/2016/10/01/an-interview-with-empire-star-jussie-smollett/

« Last Edit: Oct 02, 2016, 04:04:12 PM by Stolen »

Enoch
Oct 02, 2016, 04:04:21 PM
Reply #1209 on: Oct 02, 2016, 04:04:21 PM
Yes I have...

Perhaps you should hear Xenakis:







or Scelsi



and of course great Penderecki, a very prominent composer from Poland




« Last Edit: Oct 02, 2016, 04:10:20 PM by Enoch »


Enoch
Oct 02, 2016, 06:45:49 PM
Reply #1211 on: Oct 02, 2016, 06:45:49 PM
That score is abstract meaning that each player can play it differently with different notes but following the written tempos, dynamics  and such stuff. This score is for viola (creepiness guaranteed)... meaning that the music will sound pretty much like Goldsmiths and already mentioned Scelsi... psycho strings, mysterious flutes, some strange ambience and a bit of deep brass, plus digital elements... maybe something more.

One thing is completely certain, it will be very creepy. For what kind of scenes is this music composed?  :o
We can only imagine!


I believe the title for this track is LIBERTY... interesting, isnt it?

Liberty as a motif and theme is wildly explored in Miltons Paradise Lost:
http://www.libertymagazine.org/article/liberty-in-paradise

Quote
The theological liberty expressed by John Milton in Paradise Lost manifests itself most clearly in the discussion of free will presented throughout the book. Milton had earlier in his career argued for greater religious tolerance in Britain through his publishing of Aeropagitica, and in   Paradise Lost extends that debate to argue that the idea of liberty is divinely placed within human consciousness. (What would happen when robot becomes free?)

In the story, God prevents neither Satan’s descent into hell, nor the fall of humanity, and for both rebellious parties Paradise is lost. In the epic, God famously makes humans to be “sufficient to have stood, though free to fall” (Book III, line 99), and when an angel visits Adam and Eve in Eden, he declares them to be created good but with a will “ordained… by nature free, not overruled by Fate” (Book V, lines 526, 527). According to the author, that liberty to choose extends to the realms of the angels also, as their Edenic visitor also explains, saying, “Freely we serve, because we freely love, as in our will to love or not” (lines 538-540).


We choose :) Interesting thing in Alien franchise is that everyone know how dreadful that organism is (Company knows that. Instructions from Mother to Ash suggest that they knew even the anatomy of the creature, so they knew about organism in Aliens too; so someone will return from Covenant mission!!!) and humans/Weyland-Yutani still want to acquire it. The human nature is on the test, who is the monster, Xeno or humans? Ultimately who is the creator of such organism, I believe we ll have to guess at the end of this trilogy. Its all just a series of events of those with free will, but  bad things happen when there is too much LIBERTY!


Quote
Elizabeth Shaw: What happens when Weyland is not around to program you anymore?
David: I suppose I'll be free.
Elizabeth Shaw: You want that?
David: "Want"? Not a concept I'm familiar with. That being said, doesn't everyone want their parents dead?/ their CREATORS :)
Elizabeth Shaw: I didn't.
But she left for Paradise, she wants answers from her creators/parents... And what kind of answers she
expects to get?

« Last Edit: Oct 02, 2016, 08:45:29 PM by Enoch »

Stolen
Oct 02, 2016, 08:50:28 PM
Reply #1212 on: Oct 02, 2016, 08:50:28 PM
Thank You Enoch ! Fantastic job again.



CainsSon
Oct 02, 2016, 11:07:33 PM
Reply #1214 on: Oct 02, 2016, 11:07:33 PM
As beautiful as that studio is and as great as that room sounds, I'm probably the only person here disappointed in seeing photos of an orchestra.

I'm just bored of traditional instruments in soundtracks currently as it always ends up sounding way over the top.  I was hoping for something more pure digital/serialist.  Something really cold and removed feeling and sounds.  I really wanted a more inhuman/out there sound track for this one.

Just because they are writing and recording 'traditionally' doesnt mean they aren't digitally processing or adding effects. Also, while I love electronic scores, its 2016, a digital or electronic score is hardly anything new or groundbreaking. Especially in a Ridley Scott film.
You might be surprised, if you did some digging, just how much of the scores in Alien films were enhanced by digital filters, effect processed and even recorded backwards.

I'm a professional sound engineer with enough signal processing in this room to fill a large u-haul (I have a side business of renting out the rare pieces to local studios).  I understand what they are doing, I was just hoping they were going to go in a really really different direction.  I also understand the amount of processing and sculpting going on in most scores, just it isn't very interesting to me mostly because it isn't completely manipulated or it is weirdly combined with untreated instruments and causes a awkward juxtaposition of sounds that doesn't always work (in my mind and for me).

Suggesting I read up assumes I have zero knowledge, and that is as far from reality as possible.  Just because it is manipulated doesn't mean it is interesting (to me),

Maybe I'll be shocked and enjoy this score, but looking at the composers IMDB credits suggests otherwise. 

I just wish modern scores took a few more risks.  Compose an entire score in something like C-Sound. I also understand that would add a completely inhuman element to the picture, and the general audience wants things they can connect with easily.  I also understand my disappointment in this is the disappointment of a person really into a very specific niche market, and doesn't reflect anyone else on earth but myself.  I'd just love it if something in this genre took cues from say, the Solaris Soundtrack (the Eduard Artemiev 1972 version)  and took it even further (stripping away a lot of the normal elements of it).  I think that vibe would work perfectly for an ALIEN film.

Also, just to clarify I am only speaking for myself.  I understand the majority of people wouldn't be cool with these ideas.

I am also fully willing to admit i am totally f**king wrong on some things, I am actually relisting to the ALIEN 3 score.  It definitely has some really bad ass parts to it.  The Strings I am not huge on, but the drone elements are really nice and expansive.  I've added it to the list of films I need a physical copy of the score of.  There is definitely some really cool parts in there.
Ok man. Im glad to see the clarity here and actually agree with a lot of what you are saying regarding the lack of really avante garde stuff in scores but I think I based my response to you on what you wrote and what you wrote initially did not sound like what you just wrote here. I am an elecrtonic musician and I a professional camera operator. I have experience writing score for shorts Ive done and was personally very unhappy with the score to Prometheus but love the score to The Martian.
In truth what Id like to hear is more sampling used in scores all around,  its sometimes a hard sell to really get a film with a market this large to do things like you ask but i would argue that this seems more likely these days than ever before so i still disagree with your saying this is a symptom of this time in film. Weve had oscar nominated scores that were very electronic and people like clint mansel, trent reznor and atticus ross, cliff martinez and even mark mothersbaugh making quite a living being experimental with film score. If anything id say the issue is they dont wanna stray too far from whats come before in this series. But i agree that i would like to see them really switch it up.


 

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