Demoph wrote: ↑

September 4th, 2020, 3:57 am

The harp (it's a harp right?) in the Amalfi score, is perfect and quite far from anything Nolan has done with Zimmer. Protagonist, also is quite different imo. And Sator too.

not saying plenty isn't different, but far too much is way too specifically evocative of earlier musical cues and themes from multiple movies


-Vader

Vader182 wrote: ↑

September 3rd, 2020, 11:45 pm

so not to rain on everyone's parade, but a ton of this score is uncomfortably similar to various motifs and melodies from Zimmer's scores for Inception and the TDK trilogy, like parts of 747 sound like the joker theme... elsewhere you have a lot of Inception BRRRMS, you have bits that sound like the eerie, sad synths in Rises and later in Inception, and all in all it's just very Zimmer-y.

it's still very good, but my god


-Vader

Indeed, Zimmer-light. Great score though!

Both Göransson and Lame did a great job replacing Lee and Zimmer, but I would not be opposed to Nolan going back or finding new people. When Hoytema did Interstellar I almost forgot about Pfister..

One of the scores reminds me of the Hereditary score.

Drewton wrote: ↑

September 4th, 2020, 12:11 am

Vader182 wrote: ↑

September 3rd, 2020, 11:45 pm

so not to rain on everyone's parade, but a ton of this score is uncomfortably similar to various motifs and melodies from Zimmer's scores for Inception and the TDK trilogy, like parts of 747 sound like the joker theme... elsewhere you have a lot of Inception BRRRMS, you have bits that sound like the eerie, sad synths in Rises and later in Inception, and all in all it's just very Zimmer-y.

it's still very good, but my god


-Vader

Yeah, the composer has some really unique sounding excellent music, but here I felt like he wasn’t playing to his strengths and it was more like he was just standing in for Hans Zimmer and trying to make Zimmer like music.

I’ll certainly have to give the soundtrack a listen but I don’t remember any of the score.

I agree. It resues too many ideas from Inception and even The Dark Knight and other Zimmer scores.

You guys also have to realize that Ludwig writes whatever Nolan asks him to write, it’s very obvious at this point what kind of music Nolan likes for his films, and he would ask for it from any composer he would work with, Göransson just happened to be the guy he picked this time and he did a wonderful job, this is probably my favorite score ever

I personally did not hear anything any specific influences thematically from those scores mentioned.

Ludwig and Nolan borrow a lot from Dunkirk in particular with the sound design focused approach. But thematically, the score relies heavily on Ludwig’s main theme - you literally gear it in almost all tracks.

Gotta say, the brass in “747” reminds me a lot of Lorne Balfe’s work on fallout. And the theme variation in “Windmills”, “Inversion” and “The Protagonist” reminds me of Zimmer’s work (Angels & Demons, Man of Steel and Dark Phoenix) - I’m talking about the chord progression here.

Interview with Ludwig on the soundtracking podcast.

Episode 210: Ludwig Göransson On The Music Of TENET, Black Panther & Childish Gambino

Really liked the movie, but man was the score fucking atrocious.

That was such a cool interview. If you reverse “Meeting Neil” you could actually hear The Protagonist’s theme! Ludwig, you fucking genius.

the score feels better when i am only listening to him than it in the film... am I the only one lol