Thor Score

[A Necessary Evil]

I can't wait to grab my actual copy though

I hope for some nice liner notes from brannagh.

 

[Vartha]

It'll be nice to have at work. This is inspiring me to draw.

 

[S.A.A.D.]

Letting Go is simply beautiful. Really beautiful, I never ever use that word when it comes to movie scores.

 

[Whiskey Tango]

Letting Go is simply beautiful. Really beautiful, I never ever use that word when it comes to movie scores.

I never use the words mallemaroking, borborygmos, or krukolibidinous when discussing film scores.

 

[S.A.A.D.]

What? Did I say something wrong?

 

[Whiskey Tango]

No.

 

[S.A.A.D.]

For some odd reason, listening to Brothers Fight made me jump.

 

[Vartha]

Heh did the same thing to me the first time too SAAD. lol

 

[hugekent]

Loved the score. It was really very beautiful at times, something I wasn't expecting. Maybe a little too much when

Spoiler

mortal Thor confronts Destroyer

but hey, it worked.

 

[Marvolo]

I had no idea Doyle was scoring this. I didn't much care for his Goblet of Fire score (too bombastic), but I am really liking this.

 

[The Watcher]

I have to admit, I'm liking 'The Compound' track.

 

[ddddeeee]

I can't wait to grab my actual copy though

I hope for some nice liner notes from brannagh.

There are linear notes from Doyle and Branagh.

 

[Vartha]

NICE Can't wait to read them.
I hope to heck they interview Doyle for Thor's DVD at least.

 

[Alientraveller]

I just noticed a Doyle interview in my copy of this month's Empire (with Daniel Craig on the cover). Interestingly, he said Thor's theme evokes a Scandinavian folk-hymn, I hope they clarify and compare it on the special features.

 

[Vartha]

Yeah that would be cool to know which one. I love some the historic music. Working at a Renaissance faire so long you learn to love all music. hehe
See when the Faire is closed for business, the different Musicians all have their own Flavor of music, so you hear, Blues, Rock, Rap, country, it's quite an experience.

 

[ddddeeee]

You can hear that kind of Celtic influence in Can You See Jane?

 

[Vartha]

Yes you can.

 

[Vartha]

Wish we had that Empire Interview

 

[ddddeeee]

Doyle has an interview on BBC radio Scotland tomorrow. I think it's restricted anywhere but the UK so I'll try to upload it.

 

[Vartha]

Cool, isn't there a web site for the radio station Dee?

 

[ddddeeee]

There is but I *think* it's for the UK only.

 

[Vartha]

Crud like Hulu.

 

[ddddeeee]

Enjoy it while you can guys, I've been told to review my videos since content might belong to someone else... lol

 

[Vartha]

AH well.

 

[Alientraveller]

Wish we had that Empire Interview

Okey-dokey, here's all of it, the following tracks he discusses:

Chasing the Storm
I wanted to create a sense of wonder and a sense of immense space. Asgard is in another realm, so it's vital that it's ethereal and pastoral, too. Yet, there's also a dark sense of foreboding underneath.

Sons of Odin
We had to capture Thor's innate dignity. Beyond the comics, you're always going to be drawn back to the original Norse legends of Thor, Loki and Odin et al. I think we came up with a melody that was very noble. I had in mind the idea of Thor's theme echoing a Scandinavian folk-hymn.

Frost Giant Battle
This was a really difficult one! I tried a pass at this piece early on in the process of developing the sound. My sense was that I played through the action, rather than playing the action. It was very 'to-the-picture' in the traditional way, but ultimately very percussive in a contemporary fashion.

Banishment
I wanted to convey the notion of signals coming from deep space and the idea of exploration.

Odin Confesses
Having banished his son who, in a sense, set off a war via his extraordinary misdemeanour, Odin has a deep sense of longing. I wanted to reflect that here with the strings.

Hammer Found
When Thor regains his Hammer [sic], the music sudden becomes contemporary and very different from the world of Asgard. It was very important that we have a thematic distinction between the two worlds: one is lush and rich and is very stylised and the other is Earth. I wanted the representation of signals existing between one world and another.

Loki's Lie
Loki's theme is very entwined with the world of Asgard - it possesses a rising melody which is a counterpoint to the deep and broad melody of Thor's theme. That became very much a part of the film's prologue. Loki's world is certainly a lot darker than Thor's.

Science and Magic
It's challenging dealing with such a legendary and iconic character. It requires a large volume of music and two very distinct worlds. The whole melange of these things is very difficult to keep on top of. You move from action to romance to big philosophy to father-son conflicts.

Can you see Jane?
The romance is an important element, but it's vital not to make it schmaltzy. I tried to make it like John Carpenter's Starman, with Jeff Bridges, where the music indicated a courtship of sorts but underline the great gulf between them. It's a very dignified but strained relationship. It's a love connection.