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Klub Marco Beltrami [ŽP: 8 týdnů] (kategorie Hudba) moderuje Lokutus.
Oficiální stránky

fanouškovské stránky I
fanouškovské stránky II
Soundtracknet interview 8/9/1998
Interview - Holywood Reporter 20/4/2004
Interview - Scoring with genre films pt. 1
Interview - Scoring with genre films pt. 2
Interview - Scorelogue - Dracula 2000
An evening with Marco Beltrami on the phone
Interview -
OSTweb: tabulka Marca Beltramiho

Vybrané releasy:

V kinech:
- Ford v. Ferrari, James Mangold, USA 15. 11. 2019, trailer
- Underwater, William Eubank, USA 10. ledna 2020, trailer

Následující projekty:
- A Quiet Place: Part II, John Krasinski, USA 20. března 2020, trailer
- Fear Street, Leigh Janiak, USA 2020, trailer, oficiální stránky
- Fear Street 2, Leigh Janiak, USA 2020, trailer, oficiální stránky
- Monster Problems, Michael Matthews, USA 12. února 2021, trailer
- The Cowboys, Tommy Lee Jones, USA TBA, trailer, oficiální stránky

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[ 978 ] <Novější  <<<Nejnovější  Nejstarší>>>  Starší>  
lokutus Lokutus - Filmová hudba 12.2.2020 14:15  2059"Bojan Bazelli’s cinematography is excellent, as is the tone-capturing score by Marco Beltrami and Brandon Roberts"
lokutus Lokutus - Filmová hudba 10.2.2020 20:10  2058

finální audio mix začíná dneska
lokutus Lokutus - Filmová hudba 9.2.2020 18:23  2057
A při tý příležitosti je zrovna dneska ve 20:00 na COOLu
lokutus Lokutus - Filmová hudba 9.2.2020 16:06  2056
World Soundtrack Awards 2019: Marco Beltrami - Ben-Hur

(aneb jak taky mají a můžou vypadat programy koncertů)
lokutus Lokutus - Filmová hudba 9.2.2020 09:25  2055
UNDERWATER/ Marco Beltrami & Brandon Roberts/Walt Disney - digitalMarco Beltrami and Brandon Roberts jointly composed and conducted the music for UNDERWATER, the new horror film from director William Eubank (SIGNAL), in which a crew of aquatic researchers must get to safety after an earthquake devastates their submerged laboratory and releases mythic, monstrous sea predators from the ocean floor. Beltrami and Roberts have collaborated on numerous projects since 2013, including LOGAN, THE WOLVERINE, WARM BODIES, WORLD WAR Z, and National Geographic’s Oscar-winning documentary, FREE SOLO, which earned the composers with an Emmy Award for Outstanding Music Composition for a Documentary Series or Special.

“The fun challenge on this score was to balance the hybrid nature of the musical elements so they could convincingly exist in an electronic world,” the composers said. “Will [Eubank] is very influenced by electronic music and offered incredible encouragement to explore new ways of processing traditional orchestral elements to create this musical soundscape. Female vocals played a big part in this score, and we experimented with an endless array of unorthodox techniques to evoke the epic, tense and at times, very emotional elements of the film.”

Right from the start (“The Bends”), the score evokes a great sensation of claustrophobic confined space with wailing instruments and haunting voices, emanating an organic harmonic sonority along with sound clusters and sinewy strands of tonality shifting against one another. The score avoids atonal sound design in favor of fibrous instrumental, electronic, and vocal tone and texture patterns. “Voyage to the Bottom of the C” powerfully suggests the feeling of submergence as the crew descends toward the underwater lab. A two-note, drifting cadence becomes “Norah’s Theme” for Kristen Stewart’s character, which both resonates with the dark colorations of the tonality and reflects her captivity within the submerged facility; it will recur in “Norah’s Choice” in a much more redemptive, rising fashion.

The first sign of danger, when the underwater building has “Sprung a Leak,” prompts a suffocating pattern of near-percussive sound clusters that serves to elevate one’s heartbeat, and has an even more potent effect later in the film when the threat of the undersea creatures takes hold. These patterns reflect the swaying of the surf far above, reinforce the sensation of being far underwater, and maintain a potent growing sense of quiet unease that is far more worrisome than adopting slamming percussives and layered musical sound design. Those effects, however, do have their place for more potent scary moments, as in “What Was That,” where the characters are spooked by an unknown entity, or the screaming pulses and descending blocks of low sound terrorizes the cast in “Eat Me.” In the case of “Behemouth,” a musical construction rises up suddenly with a grunting, rising sound pattern. “Bikini Run,” on the other hand, proffers a near-heroic resonance as the crew makes a break for freedom, only to meet with the sonic blasts and dizzying swirls of approaching panic that curtail any sense of escape until the softer harbinger of “Rapid Ascent” seems to suggest a means of escape. “Seems to” being the operative phrase: when underwater it’s not over till it’s over, and “Under the C” both forms a motivic bookend with “Voyage to the Bottom…” as the story is resolved, but not without a cost.

UNDERWATER is a fine horror score with lots of sonic potency while largely avoiding jarring jump scares, allowing the breadth of its harmonic texture and phrasing to create an ongoing apprehension which is as delightful as it is haunting.

lokutus Lokutus - Filmová hudba 8.2.2020 23:11  2054
lokutus Lokutus - Filmová hudba 8.2.2020 22:30  2053
World Soundtrack Awards 2019: Marco Beltrami - Snowpiercer
lokutus Lokutus - Filmová hudba 7.2.2020 18:17  2052
World Soundtrack Awards 2019: Marco Beltrami - Gods of Egypt
lokutus Lokutus - Filmová hudba 6.2.2020 19:21  2051
lokutus Lokutus - Filmová hudba 6.2.2020 19:20  2050
lokutus Lokutus - Filmová hudba 5.2.2020 23:28  2049
lokutus Lokutus - Filmová hudba 4.2.2020 07:40  2048
In the year 2000...4-2-2000
lokutus Lokutus - Filmová hudba 31.1.2020 03:24  2046
lokutus Lokutus - Filmová hudba 26.1.2020 12:13  2045
And the Golden Eagle goes to...
lokutus Lokutus - Filmová hudba 26.1.2020 11:03  2044

Ford v Ferrari

Production Mixer – Steven A. Morrow CAS
Re-recording Mixer – Paul Massey CAS
Re-recording Mixer – David Giammarco CAS
Scoring Mixer – Tyson Lozensky
ADR Mixer – David Betancourt
Foley Mixer – Richard Duarte

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