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Vanilla 1.1.4 is a product of Lussumo. More Information: Documentation, Community Support.

 
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      CommentAuthorDemetris
    • CommentTimeDec 15th 2008 edited
    Martijn wrote
    (But then of course I have the heart of a five-year old, which is brilliant as it should last me another 90 years or so!)


    My relative comment didn't have anything to do with you, Steven or anyone LIKING mickey-mousing. My comment wasn't about one's tastes. If anyone doesn't understand, msg me and i'll explain.
    Love Maintitles. It's full of Wanders.
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      CommentAuthorMartijn
    • CommentTimeDec 15th 2008
    Polyphony is GREAT! punk
    But Palestrina is MONOphony! (isn't it?)
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
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      CommentAuthorMartijn
    • CommentTimeDec 15th 2008
    Christodoulides wrote
    If anyone doesn't understand, msg me and i'll explain.


    I DON'T UNDERSTAND! What is a msg?
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
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      CommentAuthorDemetris
    • CommentTimeDec 15th 2008
    PALESTRINA Is polyphony.

    Giovanni Pierluigi da Palestrina (between 3 February 1525 and 2 February 1526[1] - 2 February 1594) was an Italian composer of the Renaissance. He was the most famous sixteenth-century representative of the Roman School of musical composition. Palestrina had a vast influence on the development of Roman Catholic church music, and his work can be seen as a summation of Renaissance polyphony.


    http://en.wikipedia.org/wiki/Giovanni_P … Palestrina
    Love Maintitles. It's full of Wanders.
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      CommentAuthorMartijn
    • CommentTimeDec 15th 2008
    Well...erm...um... then...um... it's really boring polyphony!

    (I guess I'm confusing Palestrina with something else...but what? confused )
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
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      CommentAuthorDemetris
    • CommentTimeDec 15th 2008 edited
    You're confusing him with Renaissance monophony with small instrumental escort? The love songs they used to song in the kings' courts? That or Gregorian Chant.?
    Love Maintitles. It's full of Wanders.
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      CommentAuthorErik Woods
    • CommentTimeDec 15th 2008 edited
    Steven wrote
    Christodoulides wrote
    I don't like it much. There are far more creative ways to write music for animation, mickey mousing is the easy way out.


    Mickey-mousing is a well-established way of scoring that works. It may not be to your tastes on album, that's fine, but to make such a bold statement as that is a little unfair I think.


    Right on!

    Christodoulides wrote
    Ratatouille is not mickey-mousing.


    There's tons of it in that score.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
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      CommentAuthorDemetris
    • CommentTimeDec 15th 2008
    Erik Woods wrote
    Steven wrote
    Christodoulides wrote
    I don't like it much. There are far more creative ways to write music for animation, mickey mousing is the easy way out.


    Mickey-mousing is a well-established way of scoring that works. It may not be to your tastes on album, that's fine, but to make such a bold statement as that is a little unfair I think.


    Right on!


    -Erik-


    Have i said the contrary? Have you even read what i said?
    Love Maintitles. It's full of Wanders.
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      CommentAuthorErik Woods
    • CommentTimeDec 15th 2008
    Christodoulides wrote
    Erik Woods wrote
    Steven wrote
    Christodoulides wrote
    I don't like it much. There are far more creative ways to write music for animation, mickey mousing is the easy way out.


    Mickey-mousing is a well-established way of scoring that works. It may not be to your tastes on album, that's fine, but to make such a bold statement as that is a little unfair I think.


    Right on!


    -Erik-


    Have i said the contrary? Have you even read what i said?


    I did... but I was responding to Steven's post. Just agreeing with him.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
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      CommentAuthorHeeroJF
    • CommentTimeDec 15th 2008
    Miya wrote
    Is this appropriate for lunchtime?

    NP: The Da Vinci Code - Hans Zimmer


    Better than Silence of the Lambs anyways.
    ''The mandate, as well as the benefit, of responsibility is the ability to tell when one can afford to be irresponsible.'' - Me
  1. lol
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorHeeroJF
    • CommentTimeDec 15th 2008
    Southall wrote
    I also thought Bolt was quite a lot easier to listen to than Horton. It sounds a bit fresher but really it's just more musical. The album production helps such a lot - the Bolt score is presented much more intelligently than Horton is, and that adds to the impression that it's music which is more readily-enjoyed away from the film than Horton.

    I can't argue the musical contents persay of Horton, mickey-mousing or not, but I just have to rise to its defense. I haven't heard Bolt yet, but for me Horton is truly the very best of score of the year and for me to call it uninspired would be to lose all hope in the future of film music. Granted it took maybe five or six listens to really get into it, but the best scores in history are like that. Now, even though the score has no vocals, the whole thing sounds like a full musical to me, every passage singing something different and incredibly catchy, and I feel like I know every word of it, following along as I listen.


    NP: Indy Temple of Doom
    Box set finally came over the weekend! Happyyyyyyy!
    ''The mandate, as well as the benefit, of responsibility is the ability to tell when one can afford to be irresponsible.'' - Me
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      CommentAuthorErik Woods
    • CommentTimeDec 15th 2008
    Np: Defiance - James Newton Howard

    Lovely low key score from JNH. Fine violin solos but did Joshua Bell really have to be the one to perform them? I'm sure the principal violinist of the Hollywood Symphony would have done an equally good job. But then again the principal violinist doesn't sell CD's like having the name Joshua Bell on the front cover.

    Anyway, JNH does minimalism very well but the score kind of floats by with a few cues that spark interest but nevertheless it's low key nature didn't keep me interested during the entire running time of the album. I'll revisit this score again soon enough but now onto...

    NP: Frost/Nixon - Hans Zimmer

    First listen and only one track in... but this is the Zimmer I like.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  2. The same question about violin solos I ask about Horner's Iris.
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorMartijn
    • CommentTimeDec 15th 2008
    NP: The Country Bears (promo) - Christopher Young

    The sort of soft, folksy, slightly melancholy score Young does so very well.
    Very pleasant to the ears in indeed.
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
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      CommentAuthorSteven
    • CommentTimeDec 15th 2008 edited
    Christodoulides wrote
    Ratatouille is not mickey-mousing. Horton is. Mickey-mousing will always be the safe route out. Who says it doesn't work? Don't put words in my mouth. I said there are far more creative ways to score an animated movie than mickey mousing. Powell does that; Giacchino does that; the first with rare exceptions; do you want me to believe that you can't spot the difference between Horton (for instance) VS Bolt or Happy Feet or Robots? This is what i said, comment on that one if you will.

    I don't want to play smart ass here Steven but have you ever seen an orchestral score, in the conductor's score? Have you ever tried to write something as such? Mickey mousing is purely rhythmical, synchronized to the picture. It CAN be tough of course and not everyone can do it, it'd be ridiculous to even claim that. I didn't say it's not working nor that it's not hard to do, but finding melodic coherency in your work and forming a proper structure will always be the toughest thing to do. You may like mickey mousing and Horton but that alone doesn't elevate it above the highest form of musical art through the centuries. Listen to the great works ranging from Palestrina to the late romantic era and the early 20th century. It's all around you, don't make me feel like i am talking to a 5 year old.


    Demetris, calm down! Try to react to a point of discussion, a disagreement, without getting defensive for once! Turn your emotion chip off for just 5 minutes!! cry

    I am not putting words into your mouth, I did not accuse you of saying that mickey-mouse scoring doesn't work. I was replying to exactly what you said, 'There are far more creative ways to write music for animation, mickey mousing is the easy way out', to which I could not disagree with you more.

    There are other creative ways of writing music for animated films, of course, but not necessarily far more creative. And not always appropriate for any given scene, sometimes mickey mousing just happens to be the way to go. Some composers are better at it than others, admittedly, but if you get a good composers who knows his (and let's face it, it's a male sport) way around an orchestra and his own themes for the film, then 9/10 it will turn out excellent. Ala Powell and Giacchino. (I.e. if it's done bad, it will sound bad.)

    I find Powell always incorporates his themes and motifs into his mickey-mouse scoring, it's not nearly as lacking in thought that you seem so adamant that it is. Give Horton a chance, and you'll hear how well-structured Horton is in terms of thematic development and progression.

    Though never did I say that just because I like it, it 'elevates it above the highest form of musical art through the centuries'. That's putting words in someone's mouth! Yes, I like it. No, I don't agree with your opinion of it.
    Simple as that.

    ..and I'm not entirely sure what point you are trying to make with those comparisons there? Are you asking me if I want you to believe that I can't spot the difference between them..? Huh?
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      CommentAuthorHeeroJF
    • CommentTimeDec 15th 2008
    NP: The Spiderwyck Chronicles, James Horner
    I finally just got this!! How criminal for me to go without a new Horner score for so long. But this one has so much potential!! Almost like an old-school Horner. Although completely ambient right now, I just know I'll discover a wealth of melodic material with later listenings. And "Luncinda's Story" was replete with juicy little "Hornerisms!" Especially bits of Casper. I love looking for those!
    ''The mandate, as well as the benefit, of responsibility is the ability to tell when one can afford to be irresponsible.'' - Me
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      CommentAuthorErik Woods
    • CommentTimeDec 15th 2008 edited
    NP: Largo Winch - Alexandre Desplat

    Like all the people before me said... this is Desplat doing Bond. Ooooooh baby... and it's sooooo good. A John Barry, David Arnold mix - throw in some John Powell with Desplat's patented orchestrations. Very nice! This I like.

    -Erik-

    BTW, Frost/Nixon bored me to tears. There were a few good moments bu the rest was forgettable.
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
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      CommentAuthorDemetris
    • CommentTimeDec 15th 2008
    Glad you liked Largo Winch, Erik. That score is a real winner.

    n.p. TERENCE BLANCHARD - A Tale of God's Wil (a Requiem for Katrina)

    This heartfelt gem brings a tear to my eyes, each and every time.
    Love Maintitles. It's full of Wanders.
    • CommentAuthorTimmer
    • CommentTimeDec 15th 2008
    Erik Woods wrote
    NP: Largo Winch - Alexandre Desplat

    Like all the people before me said... this is Desplat doing Bond. Ooooooh baby... and it's sooooo good. A John Barry, David Arnold mix - throw in some John Powell with Desplat's patented orchestrations. Very nice! This I like.

    -Erik-

    BTW, Frost/Nixon bored me to tears. There were a few good moments bu the rest was forgettable.


    Largo Winch? One I'll definitely be getting.


    NP : BOURNE SUPREMACY - John Powell



    A 5 star score....superb! punk
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  3. Where were you, man?
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorMartijn
    • CommentTimeDec 15th 2008
    fireworks TIMMER! fireworks
    He's back!!

    bounce
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
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      CommentAuthorHeeroJF
    • CommentTimeDec 15th 2008 edited
    Just like Arnold! robot



    NP: The Treasure of the Four Crowns, Ennio Morricone
    So far this is a huge disappointment. I'd let myself expect another Red Sonja. There are precious few scores where Morricone really lets his hair down with large-scale adventure and I thought this'd be one of them. Not even the opening theme had any kind of derring-do feel to it. If this music actually fits the film, it must be a drastically different fare than I expected.
    ''The mandate, as well as the benefit, of responsibility is the ability to tell when one can afford to be irresponsible.'' - Me
    • CommentAuthorTimmer
    • CommentTimeDec 15th 2008
    PawelStroinski wrote
    Where were you, man?


    Right here! But computer-less! slant
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorTimmer
    • CommentTimeDec 15th 2008
    Martijn wrote
    fireworks TIMMER! fireworks
    He's back!!

    bounce


    biggrin punk kiss beer
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorTimmer
    • CommentTimeDec 16th 2008
    I've been listening to a lot of good music ( makes 10 days without a computer very bearable cool ), mostly my usual suspects....Barry, Williams, Goldsmith etc plus classical, pop and jazz.

    I'm slowly going through the Delerue 6 CD set and have familiarised myself with the first three discs which are a complete and total joy.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
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      CommentAuthorSouthall
    • CommentTimeDec 16th 2008
    Welcome back Tim! Have been wondering where you'd got to.
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      CommentAuthoromaha
    • CommentTimeDec 16th 2008
    Truman Show smile
    • CommentAuthorTimmer
    • CommentTimeDec 16th 2008
    Southall wrote
    Welcome back Tim! Have been wondering where you'd got to.


    Cheers James beer

    I hear you've been hanging out with Mickey? wink
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  4. NP: Che (Alberto Iglesias)

    There's a lot of restrained power in the final track, 'La Higuera, October 9, 1967'. Presumably it is for the day of Guevara's death. The way the droning strings give way to solo guitar, and then a sombre string hymn, before the droning strings finally dominate again -- all this makes it another fine score finale cue. We've had some great score finale cues for character deaths lately, including 'Song for Bob' from The Assassination of Jesse James and 'Justin's Death' (also by Iglesias) for The Constant Gardener.

    This score is restrained and subtle to the point that for many, it will be boring. It wasn't for me, but approach carefully.
    A butterfly thinks therefore I am