Page 17 of 17 FirstFirst ... 7 15 16 17
Results 481 to 487 of 487

Thread: Patriots Day

  1. #481
    Join Date
    Nov 2011
    Location
    Memphis, TN
    Posts
    1,412
    Mentioned
    32 Post(s)
    Quote Originally Posted by Final Destiny View Post
    Disliking the process doesn't mean they dislike the music that was made. I highly doubt the vinyl delay is tied to their (theoretical) distaste for the project - it's just that they've been on the road pretty much constantly since 2017, or engrossed in a billion scoring projects, and don't have the time to look over test pressings and art. I think it's that and nothing more regarding the vinyl.
    And, by other logic that's being stated that dislike = vinyl delays, that's implying that Trent hates With Teeth, Year Zero, The Slip, and the Quake soundtrack.

    Right.

  2. #482
    Join Date
    Dec 2011
    Posts
    805
    Mentioned
    159 Post(s)
    Quote Originally Posted by Final Destiny View Post
    I do think it's one of the strongest scores - maybe because it's much more concentrated than GDT, Gone Girl, or Vietnam. Nearly every track feels distinct to me, like I could put a name to each one if I heard it out of the context of the album.

    I suppose it is more obvious when you think about it - big budget action/drama film, big name headlining star, clearly a studio-driven film. It was probably a substantially different experience compared to working with a director like Fincher or Ken Burns, or the smaller scale of Before the Flood. I can't imagine they'd do something like that again.
    I would assume working on a big budget film means you would have a lot of pressure to bring the best work. It may not be as enjoyable because of that, for sure.

    But damn, their score brings so much more depth to the film. "Terminus" when one of the bombers gets run over by the car and then is in the OR coding... That was intense. Before TR/AR, I never really took scores in to account in a film. But I now appreciate scores more than ever.

  3. #483
    Join Date
    Dec 2011
    Location
    Memphis
    Posts
    1,259
    Mentioned
    29 Post(s)
    Spoke with someone at Lakeshore and asked if it was happening or not because fans want to know.

    This is their response:

    "No updates so far in either direction. - sorry!"

  4. #484
    Join Date
    Jan 2017
    Location
    Chicago
    Posts
    481
    Mentioned
    10 Post(s)
    Quote Originally Posted by Reznor2112 View Post
    Spoke with someone at Lakeshore and asked if it was happening or not because fans want to know.

    This is their response:

    "No updates so far in either direction. - sorry!"
    Thank you for keeping up on this!

  5. #485
    Join Date
    Dec 2011
    Posts
    99
    Mentioned
    1 Post(s)
    I wish TR would release the FYC film version along with the album soundtrack as a deluxe edition.

  6. #486
    Join Date
    Dec 2011
    Location
    Memphis
    Posts
    1,259
    Mentioned
    29 Post(s)
    Quote Originally Posted by FineFinchTails View Post
    I wish TR would release the FYC film version along with the album soundtrack as a deluxe edition.
    I would just be happy with the commercial release on vinyl...

  7. #487
    Join Date
    Feb 2018
    Location
    France
    Posts
    471
    Mentioned
    7 Post(s)
    Just watched the film. Much like the movie, the score does it job, and it does it right, somewhat. More akin to a statue to commemorate the event, but.. the hollywood way. It has it flaws, being a bit patchy at times, and notably pushing a bit much during some dialogue with, for example, the simplicity of a duality of bad/good, but it works I guess, if you consider it as an extension of the faith of the character. But anyway, the way real footage is interwinded with re-created footage and the way the events unfold is greatly crafted, and (as I read), accurate. Which is enough.

    For the score, I could still decipher the NIN-ness of it, in the subtlety of the piano-based tracks, the way the few moments where a guitar is present unfolds.

    But a moment hit me. If I recall well, it's a scene after the bombs already exploded. We get a view of the city, the piano brings out a certain emotion after the events, we get to a specific street, and we go into a dinner with the chinese character speaking to his friend (soon to be girlfriend ?), and at that precise moment, the switch between the events and the mundane life, there is a slight piano fill between two notes, an inflection, a subtle change of pace, which gradually segues the horror with the routine, the everyday life. It links the different people, the different events through the music, making them all more connected, and perfectly expressing a certain message of the film : the importance of the community. That we act as a whole. It's not primarily about the way we act, individually, it's the way the mass acts, the way we deal with the structures within our societies, and the way things can really change.

    And well, that moment only, makes it great. I'm certain this isn't exactly what T&A envisioned with this project, maybe this particular moment in this piece wasn't for this scene, or to be used that way.. but in the end, this seems so effortless, so perfect, I'd guess this is one of the part of the score they can be proud of, despite their experience on this film (from what I can decipher from interviews). But this makes it worth it. And I didn't even listen to the album itself, yet.
    Last edited by StockAvuryah; 02-27-2019 at 08:18 PM.

Posting Permissions