Graeme Revell

Frank Herbert's DUNE - Original Soundtrack from the Sci-Fi Channel MiniSeries

Main Theme

Navigator Advises

Pain Box

Worm Sign / Escape the Worm

Dreamscape

Up the Ladder / Battle

Desert Trek

Outrun Worm

Travel with Fremen

Reclaim Janis' Water / Worm Riding

Fremen Village

Underground Lake Vision

Paul & Chani

Chani & Paul's Love

Worm Bark

Seduction - Pt.1

Seduction - Pt. 2

Jessica Changes Water

Desert Love

Paul's Vision

Conquering the Worm

Paul Drinks

Paul Reigns

The Killing of the Innocent

Baron Harkonnen Dies

Jihad Begins / Last Fight

Paul Chooses - Finale

John Debney

Robert Rodriguez

影片由Frank Miller的小説改編而成。影片講述三個故事：Sin City，The Big Fat Kill和That Yellow Bastard。這三個故事都發生在一個虛構的城市：罪惡之城。在這座被暴力所摧殘的城市中，警察已經被黑幫所腐化。影片將有三條故事主線，最主要的Sin City講的是Mickey扮演的暴力警察Marv，因為一個與他有過一夜情的漂亮女人死於因他而起的復仇，他準備在這個城市裏大開殺戒……

　　除主角布魯斯·威利斯之外，影片還集中了克利夫·歐文、伊利亞·伍德、布蘭妮·墨菲等多位明星，可謂羣星輝映。然而，本片最大的功臣當屬導演羅伯特·羅德里格斯。弗蘭克·米勒對好萊塢有成見，早在十幾年前就宣佈拒絕與電影人合作。羅德里格斯硬是自己籌資，將《罪惡之城》中的一個故事拍成短片，並親自送到弗蘭克·米勒的手中，最終打動了對方。

　　在漫畫裏，弗蘭克·米勒給每個人深淺不同的墨色；在電影裏，羅伯特·羅德里格斯認為每個人都是一幅畫。所以，他給演員不同的用光，不光把演員從背景中抽離，還把每個演員跟其他人處理得不一樣。羅伯特·羅德里格斯就是這樣嚴謹地緊扣原著。正如米勒所説，“我們是在一起完成我的畫，所以，我們必須不斷調整，直到完全符合我的創作為止。”

Robert Rodriguez and Frank Miller's eye-popping adaptation of Miller's noir comic Sin City boasts an equally gritty, stylized score to match its visual flair. As with all of Rodriguez's films, he was actively involved in Sin City's music, writing a fair chunk of the score himself and turning to two of his frequent collaborators, Graeme Revell (who worked with Rodriguez on the From Dusk 'Til Dawn soundtrack) and John Debney (who contributed to the Spy Kids 1 and 2 scores), to work on the rest, with and without him. Rodriguez scored most of Sin City's Hartigan (Bruce Willis) storyline, aka "That Yellow Bastard" to fans of the comic, and his "Sin City" theme sets the tone for the rest of the score: it's down and dirty, like the "Peter Gunn" theme gone to hell, with a beautifully ugly sax sound that adds a glamorously nasty edge to the piece (and everywhere else it pops up). Revell scored the Marv storyline, which comes from the first Sin City comic, and Debney's score revolves around the Dwight/Miho story originally known as "The Big Fat Kill." All three parts of the score blend jazz, spy, and especially film noir soundtrack elements with subtle rock and electronic touches; though they work well as a whole, there's something to be said for each of the composers' individual approaches as well. Revell's tracks are the most percussive and electronic; there's an almost industrial bent to the drums on "Marv" and "Bury the Hatchet." "Her Name Is Goldie" and "Goldie's Dead," meanwhile, concentrate on the haunting flute and vocal motifs that collide with Revell's edgier sounds on "The Hard Goodbye." Despite Sin City's stylishness, it's still fairly restrained; Rodriguez, Revell, and Debney know when to pull back from going too over the top. This is especially true of Debney's pieces, which are the closest to traditional noir film music in the score. Along with reflecting the bleak, harsh aspects of the story, tracks like "Dwight" and "Warrior Woman" also capture Sin City's very real undercurrents of sorrow: the string parts move from eerie to bittersweet, and the horns go from dangerously taut to brooding, particularly on "The Big Fat Kill," which is sad, angry, and violent all at once. Rodriguez's pieces are some of the showiest and most evocative, ranging from "Prison Cell," which sounds like sinking into darkness, to the theatrical evil of "That Yellow Bastard." "Sin City End Titles" is a bigger and badder reprise of the film's theme with a more rock-based arrangement and more than a little bit of a wink in its delivery. The soundtrack also includes two non-score tracks. Fluke's "Absurd" has a more "modern," big beat/rock sound than the rest of the album, but it feels oddly dated and out of place compared to the more timeless-sounding music that surrounds it. However, "Sensemaya," a 1976 piece from Mexican composer Silvestre Revueltas, is right in keeping with the score's elegant menace; it's easy to hear why Rodriguez says in the album's liner notes that this piece was a big influence on him. A wonderful update of film noir music traditions, the soundtrack remains faithful to that basic sound, but not too faithful to inject some fresh ideas into it. Along with The Incredibles, Sin City is one of the most stylish and entertaining -- not to mention effective -- scores in recent memory.


Sin City (Original Motion Picture Soundtrack / The Deluxe Edition)

Pitch Black (Original Score from the Motion Picture)

The Crow (Original Motion Picture Score / Deluxe Edition)

Innocent Lovers

David Russo

《Gotham: Season 1 (Original Television Soundtrack)》以交響樂為骨架，輔以哥特式電子音色，構建出犯罪都市的神經質美學。作曲家Graeme Revell與David Russo用陰鬱絃樂描摹警徽鏽蝕的街道，碎裂的電子脈衝暗喻地下世界的暗流，管風琴轟鳴時猶如冰山開裂般預示宿命降臨。這張配樂刻意模糊了主角與反派的音樂符號——幼年布魯斯·韋恩的主題用單簧管獨奏勾勒孤獨，而小丑雛形的癲狂則藏在扭曲的鋼琴即興片段裏。當銅管羣以巴洛克式賦格推進時，暗黑史詩感與爵士酒吧的煙塵質感碰撞出獨特的冷硬美感，恰如這座墮落之城在罪惡土壤裏掙扎着長出光明的枝芽。

Gotham:  Season 1 (Original Television Soundtrack)

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Marigold

Frank Herbert's DUNE - Original Soundtrack from the Sci-Fi Channel MiniSeries

歌曲列表

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