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Film Composers Anonymous 02/07/2021 (Sun) 02:46:48 No.1414
Who are your favorite film composers and which film has the best score in your opinion?
Triumph of the Will has a great film score.
It's cliche but Morricone is my favorite composer and I suppose Once Upon a Time in the West is his best score. However the best overall piece of film/tv music is Un soir chez Norris by Pierre Cavalli https://www.youtube.com/watch?v=bXndVOu-OHw https://mega.nz/file/yZcghJqT#0W7Dj0o610UKDmmhF8OaMiqkKG5qhx7rjvrU12T7jqU Your picture of Piccioni made me check his discography. I forgot about his score for Bora Bora because the tropical style is uncharacteristic for him, but I really love it. There were two soundtracks for this film, the US version by Les Baxter. https://www.youtube.com/watch?v=NvxtoxT-Y3E
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>>1417 Morricone is great, so it's warranted. I think his best film score was in A Fistful of Dynamite. (specifically Giu La Testa) https://youtu.be/t8DzB090GG4 As for Piccioni, he's my favorite so I dont even think I could pick one over the other within my favorites. But, I've been listening to his album Peccato Mortale a lot lately. https://youtu.be/PybY7gy_z2E
Basil Poledouris. He had a rich unique sound that is still unmatched to this day. Nobody composed better epic scores. Anvil of Crom still gives my goosebumps. It might very well be the greatest piece of music ever composed by humankind that needs to be send to space - https://www.youtube.com/watch?v=ZeZL2R9jDJM Robocop - https://www.youtube.com/watch?v=xr5HG9BvsLQ Jungle Book - https://www.youtube.com/watch?v=V_WYWRyPQLE Many such cases.
I personally enjoy alot of the musical spirals you find in the works of Cipriani, like Concorde or Tentacoli, but I do have to say that Piccioni's performances featuring Shawn Robinson are my absolute favorites, they are featured in films like Eye of the Hurricane or His Name was King. That last song was even featured in one of the most iconic scenes in Django Unchained and she wasn't even credited because of an error! I don't know if I'm looking in the wrong place but they always credit the singer as someone else in the Bacalov song which is a shame since in my opinion Shawn deserves all the praise in the world, she's really unique! I love her work so much that I became obsessed and just had to make a compilation tribute, I even managed to find some rare TV appearances and got in touch with her son to dig up some info about her background, you can read about it in the description. https://youtu.be/ddFv0JR0bHg As for the film with the best score, I have to say I keep going back to All the Colors of the Dark, I think that Nicolai ost has something really special in it, the guitar riffs accompanied by the witch screams fuse perfectly and he even reused the first song "Magico Incontro" a few months later in the film "French Sex Murders" trailer, and also of course I can't dismiss the classic Ortolani soundtrack for Cannibal Holocaust (amazing theme)
>>1422 I honestly think quite often about that golden era of Italian composers, it really is insane the amount of talent between 1940 and 1990. Alessandroni, Cipriani, Piccioni, Umiliani, Micalizzi, Trovajoli, Torossi, I Marc 4, Gaslini, Moroder, just to think about that small list I get goosebumps
>>1422 That live performance of revelation was something else. Thanks for the upload!
>>1422 Yes thanks for posting that great video. I really like the Teatro 10 segments - no lip syncing, Shawn is loose and energetic. That studio performance space is one of the coolest I've seen in a 70s variety show. Another video says that Gianni Ferrio directed the orchestra for that program.
>>1424 It really is! Piero mention that he wrote it after meeting Shawn and you can tell by the way the two of them just blend together, it's amazing. She puts so much emotion behind her singing, has to be one of my all time favorites. >>1425 I agree, that's the best part! The performances feel so genuine since it's not lipsynched, that's one of the things I hate about Italian broadcasts, they always put on a "fake" show... I'm starting to miss "singing divas" from back in the day, Edda, Shawn...
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Which recent film has the best score? My vote goes to Blood Machines from Carpenter Brut. https://carpenterbrut.bandcamp.com/album/blood-machines-ost https://mega.nz/file/jMFiRZ5C#eBxEWoOQGy9jXJ9LMhvicvbqeRs7HbnW6e4yVbkqyjk Here's a cool video pairing Carpenter Brut with the anime Jin-Roh The Wolf Brigade https://www.youtube.com/watch?v=khchqRIPN4U >>1428 >that's one of the things I hate about Italian broadcasts Since you mention it, almost every Italian film from this period is completely dubbed too. I'd never thought about how that applied to their TV shows. I remember the explanation for widespread dubbing was that their studio walls were not soundproof, or maybe they never bothered to soundproof because they were already in the habit of dubbing.
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>>1429 >Which recent film has the best score? No response so I'll add another. Yes I listen to any soundtrack with the purple pink retrowave aesthetic. Colin Stetson's music for Color Out of Space, a new Lovecraft adaptation that I haven't seen. https://www.youtube.com/watch?v=WxcdsIQqr6g&list=PLfzW_wEeYxk46Lk_0JDVmM2mFlyJbqY5F https://mega.nz/file/eMliUDZI#k6d0dHiRkPAim_mXtRBq_ROaDLDvV6QZLmZCcFD4KPk
>>1429 >watching modern films lol
Are reposts valid, just asking
>>1450 Sure
>>1451 Then how about a re-refried post to begin the streak of music webms i've been posting recently? which will get me banned by the admins because they take too much site's resources Joe Hisaishi has been a big shot for a long time now, making the bulk of his scoring career with Studio Ghibli films, but one of his niche appeals are his 7 scores for Takeshi Kitano ranging from 1991 to 2002. Here's a quick shot at 5 of them, and while these are a little campy for some folks i think they are worth a shot, especially this one for 1993's Sonatine and its title track variations. The interesting part that really caught me was the shifting droning background in some of the songs (1st, 3rd and 4th webms) that appear as a silence replacement in scenes either at night or in moments of emotional investment were time passes in a flash, creating a somewhat dense atmosphere as the movie version is more evident. The omnipresent soft echo adds to the flavor, especially in the piano pieces. The film's overseas distribution is a good story itself, a funny series of benign accidents on enthusiasts and foiled malicious plans of plagiarism by directors.
Returning a little into a more soft and juvenile side there's 1991's A Scene at the Sea, or That Summer, The Calmest Ocean... in its translated original title with a prolonged subtitle available in the poster and cover art here, seemingly coming from one of the surviving protagonists. Very sweet yet melancholic vibe going on, i believe the director wanted to make clear the impression that the entire story was being told as a memory recapitulation instead of a real-time event, that something in the nostalgic music exacerbates this feeling very well. A well done exercise in terms script too, trying to move a slow-burning story with 2 mute characters. Now jumping a short later after Takeshi's mysterious bike accident it's 1996's Kids Return, an ambiguously semi-biographic coming-of-age movie without the man himself starring anywhere. The playful and explicit tones give away the nature of the characters and the movie early on, which quickly turns into frustrated shuffles when some of the kids some? i mean all of them start stumbling with the hardships of a demanding recession-ridden Japan of the 90's. There's a lot of mood swings but the explosive title theme takes the cake mainly for its timely appearance, pretty rad guitar too.
A year later the man would go on to win the once-coveted Venice Golden Lion (formerly Coppa Mussolini) with Hana-Bi aka Fireworks, competing against rivals like Yimou Zhang's Keep Cool, Pedro Costa's Ossos and the russian gem The Thief. The movie itself is gluttonous for misery, a sure-fire catnip recipe when the jury is composed of women, and the dramatic score for strings gives an elegant and poignant accent to all the mishaps and event successions around the personal life of a beat cop, interpreted by no other than the director, again. The mix of dry and absurd humor coming once in a while is a much appreciated aspect that i found to be a little lost recently, especially from movies where everyone is dragging themselves in an emotional swamp plus the precise allocation of such segments gives places to a strong contrast effect when the movie is about to drop someone. And speaking of misery and prizes, Kitano wanted to go at it again in 2002 and made a little shining gem called Dolls, a cinematographer-driven film about lovelessness in different japanese social groups such as salarymen, yakuza and otaku men, along with trying to visually and ideologically explain the meaning and appeal behind the old japanese puppet theater; such attempt done in a successful way in my opinion. The score is subdued but pretty dramatic at one point, its titular theme being the juicy cherry of the mix with the inclusion of the old familiar percussion from previous projects. The film was entered into its respective Venice Film Festival edition and faced stiff melancholic competition like Chang-Dong Lee's Oasis, Konchalovsky's House of Fools and bleeding edge The Magdalene Sisters by Marx Engels Mullan. The latter being a woman-beating hellhouse story it became a hit among the female jury, which did not forgive and gave the edge in the split decision. Obviously this is not or shouldn't be about the prizes nor immediate recognition, i just found the clear trends behind jury decisions funny like Del Toro convincing the Netflix-involved jury members to vote for his friend and co-producer Cuaron ...Yeah anyways hope these weren't a big camp, here's a couple of links if someone fancies them the ∞/film/ moniker is from back then, not a slap on anyone here >A Scene at the Sea https://mega.nz/#!GI4SGCSJ!1J8f4XPi_U38yptZw7zYWoRghxsoepmFZse1YyYQjGw >Sonatine https://mega.nz/#!3EwiBQCb!Yl0LRlJSbSz5hQ8dtEF8zO9OoUNNkAVAp1xqrjjqfZU >Kids Return https://mega.nz/#!aU4ElIhY!1FT0D_8IloUk7Isl5J6VIB8OmZ14rdh6bB-BoNYP_Sg >Hana-Bi https://mega.nz/#!yQ5UEQ6B!UDWIxmKkf8qXaeZnRbm_eij-y5lHu02aPWqBW2-uKfI >Dolls https://mega.nz/#!WUwmgCKD!18V5QOL4ndh_6dxqPb98oJyF6jDDigLelOxfwXwnkSw I do fancy cataloguing for François de Roubaix works but they are quite extensive despite dying way too young, he very probably would've become another Morricone had he not liked swimming in turbid underwater caves, with no diving lifelines, at sunset.
>>1452 >Sonatine Very patrician
>>1454 Thank you so much for this! Ive never heard anything in my life!
I wish there was a complete soundtrack to La Fille aux yeux d'or (1961). https://www.youtube.com/watch?v=z01Y-ENKsB8 The only release was a French 7" that I can't find anywhere except youtube. I think there's more than the 2 tracks worth of music, so the only good option is to cut audio from the film itself.
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This thread got me thinking of an older interview on The OST Show where Jason Piccioni discussed his father's life and legacy. I'm surprised I can't find it anywhere. The OST Show is very relevant to this thread though. It was a big influence on my personal taste in rare soundtracks and associated music. Have a listen: https://www.mixcloud.com/Resonance/playlists/the-ost-show/ Host Jonny Trunk runs this record label https://trunkrecords.com/home.php
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>>1468 >an older interview on The OST Show where Jason Piccioni discussed his father's life and legacy. Here it is. Some rare tracks in the mix. https://mega.nz/file/KJ9QCSBa#IdgBBT3_-6pDf7YKpsf6irKURGIBHnz5YcxDH6GIi3Y
>>1571 Thank you for reminding me i had to finally upload here a loose end i have laying around. 1989's Sono Otoko, Kyôbo Ni Tsuki aka That Man, Being Violent, or better known in the west as Violent Cop, is the director's debut of Takeshi Kitano and a mighty fine one especially taking into account his position was improvised by the producers after the renowned Kinji Fukasaku stepped down due to Kitano, known much more in Japan as the comedian Beat, having to work on TV and only being able to be on set for short bursts of time, something odd for traditional motion picture men. Daisaku Kume was the man in charge of creating the soundtrack, adapting some of the experimental gnostic work of the frenchman Erik Satie (which makes for the main character's rambling theme) along with making a couple of pieces of his own, the most notorious one being the film's Main Theme, along with its end titles and short sax variations. The song is jazzy as hell and typical of Japan's late 80's-early 90's with the heavy MIDI strings and fills, the sonic cues most songs share in this small recording. For those interested in the 320kbps: https://mega.nz/file/nRxVSI6Z#31bpzgrJn0BRynNydUI85l1vSUbeWVZdRWU3-Q_aWME
Here's a controversial but extremely influential one, 1982's Blade Runner, directed by Riddle Scott in a seemingly-ignored and damned multi-production effort (U.S., the U.K. and H.K.'s Shaw Brothers Studio), the movie itself hasn't been really forgotten due to its combination of expressive, very well made assets but still all used by a somewhat corporativist spirit driving what would be a fucking mess of a product, soundtrack included. In my opinion the movie does almost everything right at a very high level but has a couple of really egregious mistakes that make it odd to palate, one is the director being a pushover ala Walter Hill (or a retarded conman) which resulted in many versions and interpretations... and second the frankly mediocre acting of the main character portrayed by Harrison Ford, picked after the U.S. investors imposed the jew-favorite actor in a tug of war; to have a forgettable main interpretation in a noir movie is usually a damning thing. But anyways the greek electronica pioneer by the artistic name Vangelis was in charge of scoring the super-budgeted film, being contacted in his London studio by Scott after finding success in the score for the jewish fantasy film Chariots of Fire. While the movie "bombed" (as in it didn't make Star Wars money) it quickly became a "cult" classic due to its high standards in everything (but Ford) yet in my opinion most of this cult status came from the movie being actually hard to get ahold on after its initial release: Prints were being recalled out of butthurt, it didn't screen in non-massive markets or was shown only late-at-nite, TV screenings were rare, word in mouth exacerbated most of its already-cool qualities (to the point of overrating) and most importantly for our subject here, the emblematic soundtrack wasn't released until 12 years later. Much akin to the great Koyaanisqatsi the soundtrack (and SFX too in this case) became as iconic as the moving pictures on the screen yet the big effort made by the athenian wasn't fulfilled in the open market for some reason, and actually to this day the complete OST has not been released... just like Koyaa. Vangelis retells how his scoring method consisted of seeing first-hand tapes from the sets with finished scenes or outtakes, Ridley liked to promote the movie in the middle of production which was odd back then hence why he had tons of tapes, but the greek inspired himself mostly from the "mood" made by the sets and the lighting plays commanded by the cinematographer Cronenweth, not to mention the physical recreations of Syd Mead's drawings. The guy used most of his keyboards around and because the city portrayed was a multiculti hellhole he also had to take hand of different scales and sounds from the world, mostly East Asia and the Middle East. He recorded stuff for almost every scene but as mentioned most of this was never released, so what happened? Bootleg galore, this soundtrack has as much versions as the movie itself, fan-edits included and it's an understatement to say this film was influential for the synth-focused musicians who are already considered a bit more mental about their pursuits. One of those efforts, perhaps the most famous one, is the Esper Edition which had a "final" one around 2007 (this post) when the Final Cut was released along with the second official version of the OST. Basically some skilled dudes used tons of different VHS and DVD versions from various releases and bootlegs, used the official soundtracks and some bootlegs sneaked out by somebody (either an engineer or te same greek) then it was mixed all together to create versions as close as possible to the movie YET they made an interesting decision, instead of leaving them as individual pieces without voice overs they decided to mix them together so it could be an "integral" journey, like a concept album/watching a movie unlike the big record releases. This long fan release edition, dubbed the Retirement Edition, quickly became a sought-after item because they printed it in very few numbers either as a play on how awful it was to get products related to the movie or because they didn't have money/were assholes. The complete set fetches hundreds of dollars and someone around did FLAC rip the first two discs which are the Score itself, the others are pretty cool bonuses but haven't seen them in the open yet.
And there it is, while they work okay-ish in this WEBM format in the movie i think most will agree it adds tons of atmosphere and soothes anyone who is constantly questioning Ford's strange, uninterested acting which cannot be justified saying he was a robot because Scott didn't tell him nor was he smart enough to realize that on the script but talking about that there's also an interesting observation here which contradicts the big studios and the recent jew who penned the latest sequel which sucked: Vangelis wrote the End Titles as a lapidary, almost doomsday theme, playing much more in the mood around the "Director's/Final" Cut ending with the sudden realization of the main character rather than the sweet, idyllic escape ending of the original release which didn't seem to need such a dire theme. Scott contradicts himself every year but Vangelis talks about his music talking in melodies and strident changes, so one could say the original ending really was the one in latter versions. I could also talk about the sequel's soundtrack and the whole saga behind it but maybe later, still i want to say Hans Zimmer is either a hack or a massively burned out atmosphere composer tired of scoring who's just winging it for a decade now, and Villeneuve can suck one too. Yeah, and for those interested in the 320kbps: https://mega.nz/file/mNAEnZZI#ZCrzukMbJC3UT6kn-S7dp2n0vSmHhZuHIFj8msFcags
>>1609 >The complete set fetches hundreds of dollars and someone around did FLAC rip the first two discs which are the Score itself, the others are pretty cool bonuses but haven't seen them in the open yet. Here's the 5 disc Retirement Edition in FLAC. I always liked the third disc of sound design from the film. I haven't listened to disc 4 very much, but the last disc is a mixed bag compilation of electronic music and DJ tracks using sounds from Blade Runner. https://mega.nz/file/uw5AUYrC#uIxnAtLMzfY25uVVwdRnX9iveJwntGqOZVLsFeqqiSE https://www.discogs.com/Various-Blade-Runner-Esper-Retirement-Edition-25th-Anniversary-Culmination/release/2217951
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Yuki Kajiura's work for the FSN: Heaven's Feel trilogy was pretty wizard.
>>1609 >>1610 Thanks Anon, all saved. Blade Runner is a cult favorite for me. Neat write-up. >>1611 Thanks!

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