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Good acting and good music
Aug. 22nd, 2009 04:19 pmYesterday evening S. and I went out for dinner and for a movie. We saw Tarantino 's Inglourious Basterds which I did like, as the great crazy uchronia it is, despite the fact that we arrived only 5 minutes before the showing and therefore ended in the first row (S. appreciated it for he has long legs but we were too close to the screen and to the speakers!). It is not a masterpiece but it is a good Tarantino.
( Read more... )
Speaking of good stuff, I re-watched Caprica pilot and enjoyed it even more than the first time. It's partly due to the deep sadness the pilot conveys (what did you expect I'm a fan of Tom McRae!), both because it's a prequel and we know that Caprica is doomed while the characters are clueless, and because of the pilot arc and how the connection between the Adamas and the Graystones started. It is also due to the first-class acting from Eric Stoltz who found the perfect role in Daniel Graystone, and, to the score.
Bear McCreary composed a beautiful soundtrack indeed. It's spot-on and the pilot wouldn't be the same without it. Bear's music has really become a key element of the BSG world/mythology in its own right. However the score doesn't imitate the themes he composed for Battlestar Galactica. Here it is more "classical" and elegant, often haunting and melancholy, sometimes nagging like a persistent pain (it's all about grieving and longing) but never indulging in schmaltz. Bear plays around a main melody and intertwines various themes in a complex yet evident way. I have been listening to the soundtrack for hours now. Here's the last track, a sort of medley of the major themes.
Bear himself explains its structure: "The first sound you hear is Paul Cartwright’s solo fiddle playing the Tauron Theme. At 0:25, the chamber orchestra sneaks in playing the Graystone Theme. At 1:02, after the theme is fully stated, the low strings enter with an ominous version of the Graystone Ostinato. From there, a harp begins the Tauron Ostinato at 1:22. A solo flute introduces a full statement of the Tauron Theme, at 1:30, and the orchestra begins cascading variations of that melody and ostinato, building intensity. At 2:44, the strings and bassoons burst into an energetic version of the Daniel Ostinato that gradually fades out at the end of the track."
Bear McCreary actually explained in details how he worked on Caprica score on that wonderful blog of his. It's a fascinating read.
( Thoughts about what might happen in the series )
I know there's a long wait until the series begins in January but I look forward to watching it. As for those on my flist who weren't BSG fans but might consider watching its spin-off for James Marsters only, I strongly urge them to watch the pilot first.
( Read more... )
Speaking of good stuff, I re-watched Caprica pilot and enjoyed it even more than the first time. It's partly due to the deep sadness the pilot conveys (what did you expect I'm a fan of Tom McRae!), both because it's a prequel and we know that Caprica is doomed while the characters are clueless, and because of the pilot arc and how the connection between the Adamas and the Graystones started. It is also due to the first-class acting from Eric Stoltz who found the perfect role in Daniel Graystone, and, to the score.
Bear McCreary composed a beautiful soundtrack indeed. It's spot-on and the pilot wouldn't be the same without it. Bear's music has really become a key element of the BSG world/mythology in its own right. However the score doesn't imitate the themes he composed for Battlestar Galactica. Here it is more "classical" and elegant, often haunting and melancholy, sometimes nagging like a persistent pain (it's all about grieving and longing) but never indulging in schmaltz. Bear plays around a main melody and intertwines various themes in a complex yet evident way. I have been listening to the soundtrack for hours now. Here's the last track, a sort of medley of the major themes.
Bear himself explains its structure: "The first sound you hear is Paul Cartwright’s solo fiddle playing the Tauron Theme. At 0:25, the chamber orchestra sneaks in playing the Graystone Theme. At 1:02, after the theme is fully stated, the low strings enter with an ominous version of the Graystone Ostinato. From there, a harp begins the Tauron Ostinato at 1:22. A solo flute introduces a full statement of the Tauron Theme, at 1:30, and the orchestra begins cascading variations of that melody and ostinato, building intensity. At 2:44, the strings and bassoons burst into an energetic version of the Daniel Ostinato that gradually fades out at the end of the track."
Bear McCreary actually explained in details how he worked on Caprica score on that wonderful blog of his. It's a fascinating read.
( Thoughts about what might happen in the series )
I know there's a long wait until the series begins in January but I look forward to watching it. As for those on my flist who weren't BSG fans but might consider watching its spin-off for James Marsters only, I strongly urge them to watch the pilot first.
