BRIAN TYLER

Wow....VERY cool suite! Great that Tyler pays so much respect not only to Goldsmith's theme, but his odd meters and stuff. Makes one miss the old maestro even more, of course, but it was the right choice to include the theme as extensively as that, IMO.

I want the score right now! Right now! Once again impressed by Tyler. Can´t hardly wait. Me wanna, me wanna this one.

Just playing the suite and it indeed may be the best thing Tyler's ever done. I can't say much about the first part, because it's pure Goldsmith at his best, really . I love one thing - for the first time since years somebody use the WHOLE It's a Long Road stuff.

Oriental stuff is something's Tyler has been doing for some time - the four-chord based theme, maybe with subtle Zimmer references - not a rip of course or something, it seems that Tyler was influenced by Zimmer in his career, incorporating some things, like certain chord progressions, some rhythmic sensibilities - I would like also to remind you guys of a string figure in the beginning of Decimation Proclamation. Generally very melodic stuff, which is very good, Goldsmith's theme is incorporated very well, not far from Goldsmith's best usage.

I haven't heard any basic rips here. I don't even think the minimal strings are an RC reference, if anything the progression in the oriental stuff, but then again it's something Tyler's been doing for years, sometimes bordering on a rip (Paparazzi). Generally good stuff, but the suite doesn't feature any action music yet, so we will see is it more a Goldsmith score or perhaps the very first serious Brian Tyler one.

I wrote something positive about Tyler, you see? you see? you see?

I need a hug

Well, the suite is basically a straight forward read of GOLDSMITH's main theme and variations on that theme. A very nice tribute to Silver Pony Tail but I would like to hear more of the ORIGINAL material Tyler came up with to compliment Goldsmith's theme.

-Erik-

^ I find it odd that you would consider this Tyler's best score since most of it will be based on previously exciting music by Goldsmith. While I'm sure it will be a good score wouldn't you want to look for some thing more original (especially an original theme) from the composer to call his best.

Is sort of the same thing when talking about Ottman's Superman Returns. I saw a few reviews that said it was his best but I think the nostalgia of the original theme by Williams were clouding their thoughts and emotions while listening to the score. If you strip away Ottman's original material from Williams' themes then there really isn't much to speak of.
-Erik-

You mean those Dana Niu-like orchestrations. ;-)

Good grief, the only orchestrators I can differ are Dodd and Elhai. What does it mean "Dana Niu-like"?

Ah, great, "it's a long road", me likey.

Exactly what i hoped. Now if the movie is the same return to basics, i'll be happy.

Actually, if you're talking about the oriental flavours, Goldsmith's second RAMBO score also had lots of those. I think these particular touches are Tyler's alone, though.

By the way, it's worth pointing out that not even Goldsmith himself played out the "It's a Long Road" theme for as long as Tyler does here. Cool!

Well, it was the second film that took place in Vietnam and hence the link to Burma (in this film) and South East-Asian flavours. The third took place in Afghanistan, so not the same kind of ethnicity.

Ah, I see. Well yes, from that suite alone it may seem more restrained. But I'll think I'll wait untill I've heard the entire score before I can make any assessment of that.

Wow, listening to that suite made me a little misty eyed. I think Brian has done excellent job handling Goldsmith 's music with care and respect while building upon it. That polish reviewer can eat sh*t and die for all I care.

Hello, film music fans. I’m THE BLOODY REVIEWER OF AVP2. I’ve read Your posts today, so I’m answering until now.


I must honestly say, that I’m really surprised of that what I’ve read. I simply don’t understand your so highly positive evaluation of Tyler’s score. When I’ve been writing this review, I thought I write a typical, critical text of another musical disaster. The text that will definitely not echo in the small world of polish film music fans. But, I don’t know why, it turned out that it’s very controversial. I wrote this review using light language and a lot of irony. It’s a review with a big dose of distance. I didn’t write it like that to sound like a cleaver, cynical intellectualist with specific sense of humor. My a little bit temper comments aren’t pointless and aren’t made only to add some meaningless brilliance or something like that. They just give my arguments more strength.
The most important thing I’d like to say is I absolutely haven’t wanted to insult the composer Brian Tyler. I respect him as a well educated artist and have no personal aversion to him, so please don’t accuse me of being not objective and forming senseless and irrational arguments. He didn’t kill my father or sleep with my girlfriend, so I don’t see any reason I should hate him. All my temper words are connected with music, which for me is a noisy craft without any idea (like I wrote in my review).
Your accusations are mostly not supported by arguments. Most of you use only senseless invectives to me (guy obsessed about Hans Zimmer, guy, that doesn’t know nothing about film music, guy, who lost the point of irony). That’s why I’m asking you now for arguments. Why this music is so great? What makes it special? But please, respect my opinions and views, which are well argued I think. I fully accept being criticized, but try to control yourselves;]

P.S.
Sorry for my English ;]

Of course it is, but when you admire someone for doing something not original, something already done before, you forget about artists who really deserve for respect acording to this what they did. For me artist should speak his own language, based on something, but his own, with new elements. But that's not my point. You write about emotions. I can feel emotions too? That's the thing we can't disscus, because it's very individual, we all know that. But in the world of art we also have soemthing like a "level of art". We need to ask the question: what makes something art? Is it derivativeness? I don't think so. We shouldn't call something art when it's not. For me art is ideas and perfection. AVP2= no ideas and chaos. I know, that emotions are the first criterion of evaluation, but when I hear that soemthing is senseless and banal, I can't listen to it and defienietly can't give it good mark in a review. Anyway, AVP2 is for me 0-emotional. And that's what I mean, so don't accuse me of creating riddiculous arguments.