Philip Glass will score The Fantastic Four




I was very excited when I heard that Mr. Glass was doing this score. With any trailer, people come out of the woodwork, finding things to criticize; with the new FF, people seemed to be upset that it wasn’t the typical superhero cartoon good guy/bad guy trope.

After seeing the most recent (Jessica Alba & Co.) incarnation of the FF, I’m more than ready for something more thoughtful. The last time I went to Burning Man (in 1999) I performed a good chunk of the Glass score to Koyannisquatsi, and can’t wait to hear what he’s got in store for us.


Interest level: piqued.


Who’s there?
Who’s there?
Who’s there?
Who’s there?
Who’s there?
Who’s there?
Who’s there?
Who’s there?
Who’s there?
Who’s there?
Who’s there?
Who’s there?
Philip Glass


Guess it beats driving a cab.


I’m a huge Philip Glass fan, and I think his movie scores are great. And I like super hero movies (when they don’t suck). But I can’t imagine anyone less suited to scoring a super-hero movie. When his music is slow it has a contemplative, timeless feeling, like Rumi set to music (which he did). When it speeds up, it becomes unsettling and creepy, which he’s also done. I just don’t see him having a bombast and spandex mode.

At least it can’t have a worse sound track than “Guardians of the Galaxy”.


Nonsense. If there is a better theme song for interstellar action sequences than “Hooked on a Feeling” then I have yet to hear it.


I completely agree with one of your paragraphs.


so if you say we could get some wind for the sailboat
and it could, so it could be those ones
so if you cash the bank of the world traveler
from ten months ago
do you remember hans the bus driver?
well i put the red ball and the blue ball
and the two black and white balls
and hans pushed on his brakes
and the four balls went down to that
and hans said,
“get those four balls away from the gearshift”
well these are the days my friends
and these are the days my friends
it could get the railroad for these workers
so will it get some wind for the sailboat
and it could get for it is
will it get some wind for the sailboat
and it could get for it is
it could get the railroad for these workers
and it could be where it is


He’s not for everyone, to be sure, but I do think that Philip Glass has advanced the possibilities of “serious” music, perhaps as much as everyone of his generation.


I may or may not agree with your comment.


Nope, I had issues with your second paragraph. I love his work, not sure if he’s right for FF.

GotG soundtrack was fantastic.


The wave function has collapsed.


Reminds me of that joke where Heisenberg and Schrödinger are in a car when they get pulled over by a cop. He walks around the car and opens the trunk before coming to the window to ask “Do you know how fast you were going?”
Heisenberg says “No idea officer!”
"And did you know there’s a dead cat in your trunk?
“Well, we do now.”


Just trolling you.

I know I’m supposed to like that genre of music, even if just as a guilty pleasure: I’m just the right age for it to be nostalgic, it was pretty much the only pop music that permeated my consciousness as an elementary-schooler.

But I hate it. It’s really a nails-on-chalkboard thing for me. It puts me on edge and starts poking my fight reflex. I think deep down I find it sycophantically unctuous: desperately inoffensive and profoundly insincere. It’s the same reason I can’t listen to modern politicians’ speeches, even politicians I ostensibly agree with and who are supposedly great orators, like Obama. I feel like I’m being attacked.

Speaking of, I can’t believe this didn’t percolate up into the Hive Mind: Rod McKuen 1936-2015.


And that’s a bad thing? I like orchestral music and many modern composers, which often makes many contemporary movie scores hard to take. They always seem to go for some sort of neo-romantic emotional manipulation which I find distasteful. The trend is so pervasive, that many say that this is the entire point of such soundtrack scores.

Also, as an electronic musician myself, I find a perverse irony that most scores these days are done by a person or several on a computer. But there seems to be a lot of popular backlash against composers creating their own sounds as being “cheap” (whatever that means) rather than the lazy option of insisting upon lots of canned symphonic samples. I like it when people get actual musicians to play the scores, but still don’t encounter much by way of variety or challenging/interesting music. Using synthesis to fake acoustic instruments was already a tacky cliché by 1970.

I am looking forward to a Glass scored Fantastic Four precisely because I can hope that it won’t be stereotypically bombastic!


For what it’s worth, the article states that Glass worked on the score with Marco Beltrami, who “is best known for his work scoring horror films such as Mimic, The Faculty, Resident Evil and all four Screams.”


No no no - it’s “No, but I know exactly where I am!”

You know what’s fun? Hearing Phillip Glass interviewed by his cousin Ira Glass. I can’t seem to dig up the page, sadly.


If they were clever, they’ve contracted to pay him by the note.


Clearly, the producers were worried about the film’s early buzz, that it wasn’t going over too well with comic fans, what with it’s lack of a fun, adventurous vibe.
This is clearly a calculated attempt to win back the fanboy base, because as we all know, if there’s one thing comic fans go nuts for, it’s Philip Glass.