Prometheus (Soundtrack) by Marc Streitenfeld - Gang-Tackle Review

We Were So Wrong
Review by The Tracksounds Gang

As the world had become engrossed in a new, family-friendly, fantastic, galaxy not too close to here, Ridley Scott was preparing to unleash altogether different kind of sci-fi film upon us; one that was all too close, too real, and too scary. In 1979, ALIEN made us fear the front-rows of movie theatres again and helping to make the film something beyond just a piece of horror set in space was the great air of mystery that surrounded it all. Thirty plus years later, Sir Scott returns us to that universe with a film that was to finally shed some official light on those questions - PROMETHEUS.

While Jerry Goldsmith’s score was nominated for several awards, it had, at the director’s hands, morphed (or was manipulated) quite dramatically away from the composer’s original concept. Regardless, it’s effect on audiences remains as menacing as ever and is among Goldsmith’s most beloved works. The music for the Alien franchise continued to greatly evolve with each successive sequel, from JAMES HORNER to ELLIOT GOLDENTHAL to JOHN FRIZZELL. And now, this “para-prequel” finds itself in the hands of Scott’s most recent favorite composer-collaborator, MARC STREITENFELD.

The film and score was discussed at length in episode 49 of The Soundcast, but at the time of the launch of the home video release, the Tracksounds Gang returns to tackle the original score for PROMETHEUS.

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Ridley Scott: The Prometheus score, Jerry Goldsmith and Marc Streitenfeld

The following question was posed to Sir Ridley Scott at a recent Livestream event for the upcoming film, PROMETHEUS.

Will you make any reference to Jerry Goldmsith's score?

"Jerry Goldsmith's score was one of the major scores of the last 30, 40 years.  Jerry was who he was.  I did two films with Jerry.  I think the score is always incredibly important for me, because I tend shoot with score in mind.  I have never shot a film without a score in mind, but I'm sure I will one day.  This score is an evolution.  It's a script in itself, so I pay a lot of attention to that.  Marc Streitenfeld has done a very nice score for us.  This is the fifth score that he has done for me.  It's very important to me.  I'd say that a score is sometimes is as important as the visual." - Ridley Scott

Obviously, Sir Ridley Scott has been one of those directors who "get's it"  and it's sounding (and looking) like PROMETHEUS is going to something really special.  You can check out the full Q&A Session and the new PROMETHEUS trailer over at BleedingCool.com.  (Thanks to @stingray_travel for the heads up on this!)

So what does this get you a bit more excited for the film and score?

The Grey (Soundtrack) by Marc Streitenfeld - Review

Prowling Rather Than Howling
Review by Edmund Meinerts

The first film to really gain much in the way of traction in 2012 is JOE CARNAHAN’s thriller THE GREY, in which a plane crash in Alaska leaves the few survivors surrounded by hungry grey wolves. Professional wolf hunter LIAM NEESON must lead the band’s defence against the predators, but grapples with his own thoughts of suicide. The surprisingly philosophical contrast between individual and group survival that the film explores has garnered significant critical praise, despite an ambiguous ending that was unfortunately spoiled by many of the film’s trailers.

The film is produced by RIDLEY SCOTT, and it is therefore hardly a surprise to see his regular composer of the last few years, MARC STREITENFELD, along for the ride. THE GREY, truth be told, is not a music-friendly film. With gritty realism the intent throughout, CARNAHAN and STREITENFELD were content to leave much of the film unscored, supported mainly by the howling Alaskan wind (at least, let’s hope it was only the wind…) and other sound effects. Thus, the 35-minute album presented here likely represents the extent of STREITENFELD’s minimal contribution – minimal in both quantity and approach.

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