WW Composer Thread

I think they should've used the Amazons of Themsycira theme more frequently in the movie. It is quite uplifting, especially with all the Celtic flutes.

 

Did the WW soundtrack include the WW theme in its full form either from BvS (the "Is she with you" track) or the Tina Guo rock version?

Or is the closest thing to it Wonder Woman's Wrath?

I was hoping to get a less rocky version than the Tina Guo one which actually started off with the slow and mysterious traditional cello and not the one from "Is she with you" which starts off straight away with the electric cello. Is there no version that starts off with the slow cello that doesn't go into the full rock version like the Tina Guo single?

 

Honestly after seeing the film, and listening to the score again, I'm starting to appreciate it a bit more. I still can't stand the RC inspired action tracks, but the Amazons of Themsycira theme is fairly loving. Just wish it wasn't so loud a-lot, but that's modern film music for you I suppose.

 

Yeah my bad, I realized that already but thanks for the correction.

 

Rupert Gregson Williams has had the best superhero score since the TDK trilogy. I found it immersive.

 

Listening to it now.

I love that it gives you the gladiator vibe without copying it, and the war music and the soft tracks are unique and just awesome.

 

Rupert's brother is actually scoring The Batman! What a family! t:

 

I saw it on wiki, where's the actual source though? I always thought it will be the other guy, Lost guy.

 

I really like the score, it's a good score, don't think it's a great score , like Superman or that level.But what is nowadays.

 

^ I think the last amazing superhero score goes back to Elfman and Spider-Man, with the TDK trilogy slightly behind. But I think this one of the most immersive scores I've heard in the genre. It really fills the movie up.

 

I think WW missed a big opportunity here with the end song. Sia's "To Be Human" played just like any random song over the end credits. But what it should've done is been more of an "I want" song similar to "How Far I'll Go" or other Disney songs. They could've had Diana saying a particular phrase throughout the film that would've formed the title to this song, and they could also have played an instrumental version of it as part of the score.

In fact, since the Amazons are meant to be a cultured lot, the young Diana could either have sung a little song when she was small or Hippolyta could've sung to her a lullaby which would've stayed with her. It only needed to be a few bars. But it could've formed part of her values. And then this would be repeated as a proper song at the end of the movie sung by Sia or whoever.

The end songs for Disney movies are more meaningful because they've already formed part of the narrative within the movie. They're not just random songs played over the credits. They could've done this with WW, cementing its success and inspirational feel even further.

 

Which track is your fav. ?

I liked 'lightning strikes'.

 

Really interesting video analysing not only WW's theme tune and its use in the movie, but also the little nods to WW that Tina Guo uses in her music video.

[YT]Z5vQz4Xz6q8[/YT]

 

I like that one as well. Others I like the Amazons of T, No man's land (almost had tears watching that scene), and God of war (such as badass one and the composer keeps it strong without going all crazy high pitch like others movies)

 

Is Rupert gonna be back for the sequel? Does he do non-war type scores?

 

Hanz Zimmer teaches Film Scoring

[YT]yCX1Ze3OcKo[/YT]

 

I still love Wonder Woman's Wrath

 

I think the score falls flat without the context of the movie. When I was listening to it I could hear every cliche coming from a mile away.

 

Yep. It's grown on me a little more, but I could never call it anything but serviceable. 6/10 at the most.

 

The score for WW? My god, it's a 9/10 for me. And it's a nine because nine times out of ten I never give a ten...

 

So it appears that Patty Jenkins is the reason the score is bland and generic. Apparently she had listened to specific music during the writing and editing processes, pieces that she was very adamant about using. In effect, the composer was brought on to more or less emulate those tracks she had grown accustomed to, which probably means she had some Brian Tyler in there and that’s why the score sounds like it does.

What’s also interesting is that Jenkins and the editor not only disagreed about the music but how the music was used. I wonder if she’s the reason (in my opinion) the film is spotted so poorly. There were many places where I felt a scene could’ve used that extra emotional punch from the score. I think coming up through indies and never interacting with a big Hollywood movie until so late in her career has taught her bad habits when it comes to music.

Blockbusters are where composers shine; on most movies they’re hamstrung by budget or subject matter. But the broad tapestry of a big action film is where most composers are able to craft their best work (Williams, Goldsmith, Zimmer, Barry, Doyle, Newton Howard). It’s a shame she didn’t allow Rupert Gregson-Williams to fully do his job.

She’s also a big Zimmer fan, so if the DC films didn’t already have a tradition of being scored by RCP we likely would’ve gotten Gregson-Williams or someone else from there anyways.

Still, even with a lackluster score the film is great (not something I can say about most blockbusters with forgettable music). I just hope she changes her approach on the next film, and a change of composer would certainly be welcome.

The rest of the article is well worth a look into the making of the film (the extensive use of slow-mo was also her idea):

https://www.provideocoalition.com/AOTC-WonderWoman

 

double post.

 

Directors should never listen to temp tracks during filming as they become fixated on that and think it's good, when they're just generic tracks from either other movies or something that wasn't specifically designed for this movie. Or directors should be more musical. If they're not though, leave that to the experts.

Isn't there a whole video on this precise topic explaining why many of the scores today are so generic?

 

There is but that video's also off base in the key thrust of its assertion (that the Marvel Studios films have no hummable themes and are therefore bad) and unfortunately has become a widespread meme, even among people in the industry.

Sure, there's some generic stuff in there, wallpaper music similar to what the Star Trek shows used to have, but there's also some really strong stuff too (Thor, Hulk, TWS, IM2, the themes to Cap 1, both Avengers, Ant-Man, IM3, DS). There's also been other great scores in recent years. Hollywood may have a new trend they're following, but that doesn't mean all movie scores are bad (which is what people seem to take from that video).

 

I liked most of the tracks in the OST. The score is amazing !