Development and production
Marco Beltrami composed the music for Terminator 3:Rise of the Machines,replacing the norm Terminator composer Brad Fiedel. The film's music editor Tony Lewis used some of Beltrami's scores as temp tracks for the film,which included Mimic (1997),The Crow:Salvation (2000), The Watcher (2000),the first three Scream films,I Am Dina (2002) and several others. Mostow liked the scores and insisted to meet Beltrami. Afterwards,Mostow mentioned that since Rise of the Machines was a high-profile film,several composers are lined up for it but assured that he would push Beltrami as the frontrunner. That December,Beltrami was announced as the composer. He then came up with a palette sounds,with few of them inspired from previous Terminator films and wrote thematic materials afterwards;Beltrami began scoring individual scenes after Christmas 2002. [1]
Beltrami considered Rise of the Machines as a complete entity to itself and though he was inspired by Brad Fiedel's score for Terminator 2:Judgment Day (1991),he wanted to do something inventive with the score. With controversies from the Terminator fans on whether Fiedel's main theme would be omitted,Beltrami denied having such ideas and instead recorded an updated,orchestral version of that theme. However,when that theme was about to be incorporated into the film,it felt that the theme took the audience out of the picture,bringing back to the predecessor as well;Beltrami admitted on the main theme being used very little in the predecessor. He noted on the sound of metallic motifs which Fiedel used,and with Beltrami making it more orchestrally. Hence the Rise of the Machines had a more orchestral score as opposed to an electronic score,while paying homage to Fiedel's work,but had more action music than the previous film scores. [1] [2]
The idea of a complete orchestral score came from discussions with Mostow,after watching the edit. Beltrami opined on using a larger orchestral score,as the music needed to reflect the emotional aspects of the human characters,over the machines,expanding on the fear of John Connor's character and him developing the courage to do his job. Beltrami further had 120 tracks of synthesizers and electronics but used to work with the orchestra as opposed to supersede it. [1]
The scoring process began in April 2003 and completed scoring it within six weeks. It was recorded with a 94-piece orchestra,30-piece choir and 13 percussionists and electronic sounds. Approximately 85 minutes of music were recorded for the film,with around 45–50 minutes of it were used in the final score. [2]
Critical reception
Christian Clemmensen of Filmtracks wrote "the muddled underscore is perplexing in its inability to excite,tantalize,or terrify. Even so,orchestral score fans may find Terminator 3 to be more accessible than Fiedel's previous entry in the saga. The disgruntlement remains,however,for strict Terminator fans who have waited far too long for a new Terminator score that powerfully and forcefully does what it should:kick ass." [3] Bret Adams of AllMusic wrote "Mostow and Beltrami definitely put their own stamp on it. Whereas Fiedel's score—especially in the original film—relied heavily on synthesizers and keyboards,Beltrami's Terminator 3:Rise of the Machines' score is a professional,rather standard orchestral work performed by a collective of session musicians credited as the Hollywood Studio Symphony. But some pieces do stand out,such as "A Day in the Life," "Hooked on Multiphonics," "Graveyard Shootout," "Magnetic Personality," and "Terminator Tangle." [4]
Thomas Glorieux of Maintitles wrote "Beltrami does a fair enough attempt at recreating the Fiedel atmosphere and villain sound of T2,succeeding at least on that part with a thumbs up effort. And between all that you receive the familiar Beltrami stabs and rhythms,making it not a particular engrossing experience,but by far an effective one." [5] Gary Datkin of Music Web International called it a "the best new action score since John Williams' Star Wars:Episode II:Attack of the Clones last summer." [6] Steven Horn of IGN wrote "In the end,Beltrami has delivered something of a curiosity. Sometimes quiet and organic,other times loud and abrasive,the overall effect is that of a hodge-podge of musical elements. It seems completely appropriate to the subject matter and yet it lacks a distinctive voice of its own. Unlike the similarly structured score for Aliens, this is not one to listen to over and over again." [7] Todd McCarthy of Variety considered it to be "unobtrusive by current standards". [8]
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