Selasa, Februari 07, 2012

Soundtrax: Episode 2012-1

Kolom Soundtrax: Episode 2012-1 tanggal 30 Januari 2012 dari Randall Larson berisi wawancara dengan Paul Haslinger mengenai salah satunya The Wolfman dan juga review untuk Real Steel, berikut kutipannya:

WOLFMAN was one of those Hollywood projects where there are a lot of people involved in a process and they can't agree on a shared vision. When I joined the fray the movie had already been in postproduction for, I think, two years, so I was at the very end of this whole process at which point the various parties hadn’t been able to find one way of finishing this movie. I don't want to go too much into details about it but I was chosen by one of the parties to create a score for the movie that would make it more attractive to younger audiences. That's what I did and then apparently the decision was made that they wanted to be more of a classic movie rather than one directed toward younger audiences and that's what was eventually released. For me, it was a job like any other. There was some good music that will never see the light of day that was produced for it but that's how it goes. As long you get compensated for your work, I don't mind that that's part of this inexact process that happens in any creative sphere when you try things out. Ultimately somebody will have to make a decision and say this is how we’re positioning this movie, and that's what they decided for this one.

Berikut ini kutipan untuk Real Steel:

Elfman’s score is able to shoulder its way through a bunch of rap and rock songs (which are available on a separate songtrack album from Interscope) to really embellish the story’s warm heart with an engaging score. The action/battle moments are occupied by fairly typical slams of rockem, sockem percussive/brass/synth, but through it all Elfman’s subtler, humanistic melodies are woven, which personifies the human element behind the battling cyberbots and exemplifies the heartening father-son relationship that is restored through the competitive robot boxing process. Aside from the brass and electronically-infused percussion, Elfman employs acoustic guitar runs (“It’s Your Choice,” “Safe With Me,”), gentle female voice (“Why We’re Here,”) or both (“Bonding,” “Parkway Motel”), and a lovely string-and-piano wistful family theme (“Safe With Me,” “You Deserve Better”) to underscore the father-son reunion which is the film’s real story (as well as the developing romance between Hugh Jackman and Evangeline Lilly’s characters, as well as the film’s underlying Americana vibe. The score’s main hero theme (“Charlie Trains Atom,” “Atom Versus Twin Cities,” the second half of “You Deserve Better”) reflects both the restored sparring robot Atom and the young lad who restores both Atom and his ex-boxer father’s dignity. The configuration of the main theme’s first six notes recall the opening tune of Neil Diamond’s song “Shiloh,” which is initially a slight distraction and certainly coincidental, but Elfman takes the melody elsewhere after that and formulates it into an energetic, cheer-inducing victory anthem as underbot Atom wins round after round against the bullybots, culminating in the happy triumph of “People’s Champion.” It’s also arranged into a variation for acoustic guitar, set among the family theme and voice melodies, in the poignant “Taking A Beating.” I found REAL STEEL to be an unexpectedly very good movie with terrific action, effects, and a true heart. Danny Elfman’s score augments its dignity and emotional grounding with a fine score that honestly conveys its sense of family affinity and celebration.

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