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Daniel Pemberton's "Across the Spider-Verse"

Mr Greg G said:
This sounds great! Love the orchestration. I remember when we got attached to a couple of projects together working on different orchestral parts back in 2010. Time flies! Daniel totally deserves where he's now.

Thank you for sharing!
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Wow so awesome that you got to work together with him!! :grin:
 
It’s a great score and a great film! I actually wasn’t too huge on the first film, I thought it was ok but not nearly as good as most make it out to be, but this new film knocked it out of the park in every aspect!! I really love the synth work in particular, some really cool stuff in there and I’ve been digging into it more recently
 
KEM said:
It’s a great score and a great film! I actually wasn’t too huge on the first film, I thought it was ok but not nearly as good as most make it out to be, but this new film knocked it out of the park in every aspect!! I really love the synth work in particular, some really cool stuff in there and I’ve been digging into it more recently
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Yesss the synths are awesome, they blend seamlessly with the orchestra! The synths really sound "alive" on this one.
 
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Not about Daniel's score, but the songs in this film are pretty good as well! I don't usually listen to this kind of music but I think these are awesome. Also, this is my first time listening to modern lofi/pop, so I might discover new stuff later down the line!

Self Love and Am I Dreaming (the end credits song) are particular highlights for me. But all the popular tracks I find great, except for Hummingbird which I think is one of the boring ones.
I started listening to the songs from the first film as well and find Sunflower very nice!

I do think that a lot of these modern pop stuff has too much autotune though, it loses the natural human voice sound. Or maybe I'm just too used to my dad's music taste? :)

 
The Extended Version of the ATSV score was released a few days ago. This includes 3 new tracks that got cut from the movie.

This one stands out to me, it's basically Gwen's theme but in a slower more calm style - so awesome. I think Daniel said this track is supposed to be in the start after Gwen quits the band, but instead got replaced by Self Love.

 
Wayyyy late to the party, but I recently got around to watching the movie and was floored by the score. Feels seismic enough to maybe become one of those stylistic inflection points, like the scores for Inception, or The Dark Night - like people will be emulating and decoding this one for years to come. Really, really cool stuff.
 
nkim6 said:
Does anyone have any thoughts on how he does his percussion? Especially the faster/more hectic rhythms (). Is there a particular drum machine that's good at stuff like this? Thanks!
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Not sure about the hardware but I am hearing some Big Beat influences like Chemical Brothers, Prodigy and Fatboy Slim. Check out Prodigy's "Smack my Bitch Up." for a taste. Prodigy was sampling beats from Ultramagnetic MC's to construct their riffs. I am no expert but I think it's about chopping beats and then mangling them with filters and distortion.
 
Bara Matahari Pagi said:
Daniel was completely robbed from the Oscars :(

His score was so original and SO good, my favorite score from 2023 tbh. At least Oppenheimer was nominated, that was very good as well!
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Yes this was surprising. Williams’ Indy V was a token gesture and has no possible way of winning unless voters feel sentimental towards the IP and Williams who is now 92. The Academy has a nasty habit of making up for pst indescretions (Morricone getting it for Hateful 8 was a joke considering most of it was unused material from his Thing score).

The last time I actually agreed with the winning choice was Gorensson’s Black Panther. This year he stands a good chance to win it again. I was hoping Naoki Sato would have gotten a nod for his incredible score to Godzilla Minus One but Toho only submitted VFX for consideration. Oh well.
 
dcoscina said:
Yes this was surprising. Williams’ Indy V was a token gesture and has no possible way of winning unless voters feel sentimental towards the IP and Williams who is now 92. The Academy has a nasty habit of making up for pst indescretions (Morricone getting it for Hateful 8 was a joke considering most of it was unused material from his Thing score).

The last time I actually agreed with the winning choice was Gorensson’s Black Panther. This year he stands a good chance to win it again. I was hoping Naoki Sato would have gotten a nod for his incredible score to Godzilla Minus One but Toho only submitted VFX for consideration. Oh well.
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Exactly! As much as I love JW (and I am happy he got another nom at this age), I personally think his score for Indy 5 is not one of his best works (still very good though), and there isn't much new material. And

Spider-Verse was easily one of the most innovative and creative scores in 2023 IMO, so I'm surprised it wasn't even nominated. For me personally, it deserves a best original score nom more than Poor Things. I guess one of the reasons could be because it was animation, and it seems like The Academy doesn't respect animated films as much as live-action (the last best picture nom for an animated film was in 2010, for example).

You're right, Oppenheimer might win this time, and if it does, it's well deserved! Love Ludwig's score on that :)
 
Bara Matahari Pagi said:
Daniel was completely robbed from the Oscars :(

His score was so original and SO good, my favorite score from 2023 tbh. At least Oppenheimer was nominated, that was very good as well!
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Daniel definitely was robbed of a nomination, but this was always Ludwig’s award
 
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