My favourite iteration and usage of this specific melody was in 'The Wrap Up' mission in the game, funnily enough, the title here 'Place of Conclusions' actually works well since it was pretty much the place of conclusions for (mostly) the whole FIB story, with a massive shootout, I love playing that mission and the music is amazing!
I've said this already but I love the influences of so many 80s composers in their music; John Carpenter, Ian Hammer, Giorgio Moroder, many more... all together in a wonderful magic brew of TD...
I love the influences of the 80s...John Carpenter, Ian Hammer, Giorgio Moroder - so many all wrapped up the burrito of coolness that is TD... thank you for wonderful memories all of yous and thank you for sharing these memories...
I watched this movie when I was 13. My dad rented it. It always stuck with me more than the average cop thriller and I could never quite put my finger on why. Over the years the pieces started to fall together as I would catch bits of it on cable or what have you. The music, the restraint in the writing, and career best performances from both leads certainly step it up a notch. But there's something else I've only recently come to understand. I'm in my 30s now. My dad's long gone. I don't watch many movies any more. I use drugs instead. For years they've been eating away at my life, replacing everything good and worthwhile, turning everything bright and hopeful and warm into something cold and bleak. No other film captures that feeling quite the same way. The dead looks everyone carries around with them in this film tell the whole story. Even the few minutes Alan Van Sprang gets on screen at the end are powerful and memorable and brutally honest. I watched this film as a kid and thought it was cool. I can't watch it now.
@@qkljhewgfhergkit's never too fucking late. You'll meet your dad early if you keep this up man. Sorry I didn't get back to you, I was busy. You don't want an early grave..
Oh man, they missed a chance to make this and Bury The Hatchet as a duality theme. BTH as Michael's theme, this one as Trevor's theme. The slight difference with the same main tune would do wonders for the atmosphere of the mission.
RIP Ray Liotta. This scene hit like a sledgehammer after he passed away man. Narc was such a great movie and score. Such a time capsule of a film. Pure platinum
Fuck you. Hey, come on. Where you going? You know where I'm going! Fuck you! You don't need to go all the way to North Yankton to find out what I can tell you over a couple beers back at my house. Come on, we'll order pizza. Fuck you! Fuck your pizza! Fuck everything that it stands for! This is insanity! Ho, no. No, it's clear and reasoned thought. Finally. Come on. Come back, we'll talk. I'm not gonna listen to another one of your lies! Hey, I'll lay it all out for you. Everything. Turn around. I'm going up there to see it for myself. You'll be disappointed. Oh, hoho, I'll be something. It'll be an anti-climax, the grave's empty. Just a bag of sand, something like that. Just smoke and mirrors. Arrrgh, the lies! How do you do it, man? The game is up! I'm trying to save you a trip. You've done me enough favors, buddy alright? Save your fucking breath! Trevor. Come on. Fuck you, Michael! Soon enough, I will.
Because Stranger Things soundtrack is a direct nod to Tangerine Dream - Go check out Tangerine Dream cover of Stranger Things opening and it all starts making sense.
tangerine dream really should compose music for video games i mean gta5 is the only game they ever compose sure hope in the future they start composing music for other games that would be cool
"Narc" is one of the greatest movies that hardly anyone seems to have heard of; a criminally-underrated gem that gets better with successive viewings. It's the kind of movie that would have fit right in with the whole "indie movie" thing back in the early- to mid-90s. I dare say, "Narc" was to Joe Carnahan what "Reservoir Dogs" was to Quentin Tarentino: a sparse, gritty, and often disturbing crime drama shot on a shoestring budget, and a cast of stone-cold killers (Jason Patric, Ray Liotta, Chi McBride, and...maybe it's just **me,** but who the f^^k knew Busta Rhymes could act?!) who got on board mostly (or so I gather) because they believed in the project, and also because they wanted to help out a talented and promising young fledgling director. Considering how choosy/highly-selective Jason Patric is about the roles he accepts-- this is a guy who clearly doesn't feel much pressure to do numerous movies back-to-back and be on screen all the time-- I think the simple fact that he's in it really says something. I think that the "names" agreed to take a percentage of the profits on the back end in lieu of getting paid up front. Kinda handy, since on numerous occasions the crew packed up and went home, not knowing for sure if they'd have a job the next day because the funds dried up. I think Liotta-- who was also backing it via he and his wife's production company-- went out of pocket to pay the crew and keep them from walking. I think things ultimately worked out for the better, since working with such tight constraints probably helped give the finished project that low-budget, "guerrilla-movie making" vibe that to many indie movie fans practically *screams* "artistic credibility."
Why are you crediting Martinez for a song that is actually from Tricky? Most of these songs are not score songs from a soundtrack, but songs created by other artists like Tricky.
Seeing Liotta weep so heavily in that last scene, and “...oh Mike...oh my god, I’m sorry...!” I tear up every time... what a scene... that’s true acting.
