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Comments about the soundtrack for Batman Begins (Hans Zimmer/James Newton Howard)
Macrotus track

JNH
<Send E-Mail>
(40-10-228-83.btc-net.bg)


  Responses to this Comment:
hunboy
Simoon
Macrotus track   Monday, July 4, 2005 (3:15 a.m.) 

1st 3 minutes of Macrotus is simply the best music I've heart for a long time ago. Brilliant strings arrangement and composition. Emotional, tear-bursting piece.

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hunboy
(82-131-128-134.vnet.hu)

  In Response to:
JNH

  Responses to this Comment:
aliaskitfisto
Re: Macrotus track   Tuesday, July 5, 2005 (5:12 p.m.) 

Yeah, typically a piece that reflects James Newton Howard also worked on this soundtrack.
Tune-parts, atmosphere and orchestral arrangements from Unbreakable for example. A clear JNH part.

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aliaskitfisto
(ip208.2.212.138.go-concepts.com)

  In Response to:
hunboy

  Responses to this Comment:
lingo
Re: Macrotus track   Thursday, July 7, 2005 (10:21 p.m.) 

> Yeah, typically a piece that reflects James Newton Howard also worked on
> this soundtrack.
Tune-parts, atmosphere and orchestral arrangements
> from Unbreakable for example. A clear JNH part.

Macrotus was a good track, probably the best on the album because of it's sheer throbbing rhythm. (Although, I do think it could have been better. But we've already "discussed" this score enough.)
My second favorite cue is Corynorhinus. Starts out dramatic, restating the Wayne Theme and a flashback to the stethoscope, which is a really touching musical motif IMO. And then the track builds into the revelation of the Joker (I love the screeching metal effect) and the finale.
Please, Chris Nolan, if you use the same two guys on the next film for the score, please don't let them title the tracks like this. Give it some plausible and pronouncible track names, PLEASE!

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lingo
(ip220.19.1411l-cud12k-04.ish.de)

  In Response to:
aliaskitfisto

  Responses to this Comment:
Chris
Re: Macrotus track   Monday, July 18, 2005 (12:11 a.m.) 

> Chris Nolan, if you use the same two guys on the next film for the score,
> please don't let them title the tracks like this. Give it some plausible
> and pronouncible track names, PLEASE!

i looked up the tracknames because i was confused. they turned out to be the latin terms for all kinds of bats. so at least its plausible

greetings from germany, lingo

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Chris
(132.162.247.14)

  In Response to:
lingo
Re: Macrotus track   Friday, September 29, 2006 (10:08 a.m.) 
• Now Playing: John Corigliano - The Red Violin  

> i looked up the tracknames because i was confused. they turned out to be
> the latin terms for all kinds of bats. so at least its plausible
> greetings from germany, lingo

I thought this was a very interesting artistic choice, to label the tracks as types of bats. I too did some research, and couldn't see any particular connection between the type of bat and the music, but I didn't look very hard.

As far as Macrotus being the best music you've heard in a long time...
Well, I'd have to disagree, for my own part. I'm a composition student at a conservatory, and the sheer volume of work we listen to sort of nulls this out as being the best.

I feel like Richard Wagner has held a stranglehold over film music for much too long. People are finally starting to break out, like John Powell (I Am Sam, The Bourne Identity), Benoit Charest (Les Triplettes de Belleville), Yann Tiersen (Le Fabuleux Destin d'Amelie Poulain), Elliot Goldenthal (Frida), and Don Davis (The Matrix), but for every one of them, there's another Hans Zimmer, John Williams, James Newton Howard, Harry Gregson-Williams, Klaus Badelt, or Howard Shore.

Granted, I think that the Wagnerian method of leitmotif works very well for film, and I think it might be impossible to release this technique entirely, because it really does work. However, I have grown tired of hearing the same Wagner brass and sweeping strings sound from composer after composer. There was a time when film composers were also art composers. Erich Korngold wrote concerti, for instance. Now, the only film composer I know of who's written a concert work is Howard Shore, and it's really just a reworking of his score for The Lord of the Rings. John Corigliano, an art composer who teaches at Juilliard, was drafted onto The Red Violin to write its score, and the resultant oevre is incredible. It also uses leitmotif, but varies its textures in such a way that interest is never lost. Also, before writing the score for the film, Corigliano wrote a Chaconne - a 17-minute mini-concerto for the violin - that forms the basis for his score, but is also a piece of legitimate art music, and can be treated independantly from the film.

I just feel that Wagner's influence is a little stretched, as of now, and it's time for composers to be using their own ingenuity.


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Simoon
<Send E-Mail>
(83-131-95-178.adsl.net.t-com.hr)

  In Response to:
JNH
Re: Macrotus track   Friday, July 8, 2005 (4:22 a.m.) 

Brilliant strings arrangement and composition. Emotional,
> tear-bursting piece.

Yeah, I agree. Incredicle piece of work. But i also like Corynorhinus, and I think that the selection of track titles is very refreshing, very nice and different.... : )
Great
Simoon


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