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Comments about the soundtrack for Timeline (Brian Tyler)

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Jerry's rejected score is far superior than this!, really
• Posted by: Tomek   <Send E-Mail>
• Date: Tuesday, August 17, 2004, at 4:11 a.m.
• IP Address:

I had a chance to get Jerry's rejected score from 'Timeline' and hearing both this and Tyler's one the only conclusion that could come to mind is that Tyler must yet learn so much... I found Tyler's score very tiresome. The first few tracks were so loud and powerful that I wasn't sure if I'll be able to get to the end of album (what actually wasn't far from thruth...). Anyway, this score is a mindless action with over-the-top, bold orchestrations that actually has no sense of excitement of adventure-feel. Tyler must know that utilizing huge orchestral sound (especially these days) isn't enough way for score to becoming enjoyable or intersting. What is ironic, is the fact that Tyler tries to copycat both Goldsmith and Elliot Goldenthal not mentioning he's trying to achive the exciting edge of Don Davis' Matrix scores. Unfortunately, this is not yet the level of complexity and greatness of the a/m composers. For most of the score this music reminded me a noise, really. The only cue I really liked and was a kind of a break from all this bombast was great romantic theme for Marek and Lady Claire - the only great stuff there.

As for Goldsmith's bootleg, yes, of course the editing of the tracks is awful (there are almost 40 of them), but what were You expecting from bootleg? Anyway, the music is the thing that counts and in this case it's one of the Goldsmith's best efforts in this a bit over-used genre this time. There are to be found some not-so liked by me syncoped rhythms known from his late-90's scores (US Marshalls, Along Came a Spider and others), but generally the music is highly enjoyable, especially the powerful are few final tracks. What I mostly loved in this partiture was the use of intriguing (someone could also call it silly), probably muted trumpet solos, which remind me a bit of magnificent soundscape of my favorite Goldsmith score, 'Legend'. The opening cue "The Dig" is especially worth a mention. Also the moments when Goldsmith uses the in majestic and monumental way the power of horns are definite highlights there. The romantic/love material is quite good here with subtle, elegant orchestral passages. Some electronics reminds very much of mysterious chords of "The 13th Warrior". And there is use of kazoos in the most frenetic action material. Personally, I think it works great but probably it could have been one of the reasons this score was rejected, because they sound veeery silly and if the film was trying to be pathetically serious then just imagine, this couldn't work in film... We won't find here some sophisticated, strong themes, just some a bit silly motifs in action material but they're for my money simply swashbuckle

Overall, skip the tiresome Tyler score and watch out for very fine and final score of the Jerry's career.


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  •   Jerry's rejected score is far superior than this!, really  (3420 views)    We're Here
       Tomek - Tuesday, August 17, 2004, at 4:11 a.m.

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