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The time of truth: THE ONE AND ONLY

General Discussions » The time of truth: THE ONE AND ONLY (Posts 1 to 30 of 33)

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      CommentAuthorDemetris
    • CommentTimeNov 30th 2007 edited
    Ok, this ain’t gonna be easy. But lots of fun!

    Here is question no.1: What is the ONE AND ONLY absolutely favorite composer of yours and why?

    Question no.2: Choose ONLY ONE score from each of your favorite composers who have however also done stuff that annoys you. That score is the one you couldn’t possibly continue listening to film music or any music whatsoever without, a score that means everything to you VS another ONE by the same composer that you can’t under no circumstances stand, you think it’s horrible and you wouldn’t mind at all if it was never composed in the first place.

    There is one simple rule as this is NOT A TOP 5/10 LISTS' THREAD. YOU CAN CHOOSE ONE AND ONLY IN EACH CATEGORY.     Not if’s, but’s, also’s, however’s, this is a wild, honest topic! And you can add more stuff later on as we proceed; when you see composers added by others on whom you’d like to make your ONE AND ONLY choices as well!

    You can also use concert (non-film) works.

    Tip: you can also use the excellent guide at http://moviemusicuk.us/composer.htm

    Ok, bring it on, let’s start the party!

    ---------------------------------------------------------------------------------------------------------------------------------------

    1. At the moment, MICHAEL GIACCHINO, my biggest addiction. His theme / rhythmic manipulation techniques, his arrangements and sense of harmony but most importantly the simple but hugely effective themes (See LOST) and the tremendously effective sound-design (again, see LOST) are one of a kind. As far as his action stuff Is also concerned, I think they’re the most advanced, complex and coherent but at the same time being as modern, loud and energetic as it goes within the tonal spectrum but simultaneously also fusing it with the great film music tradition of the past, paying respect to the ‘big ones’; Williams and Goldsmith most importantly. In a word: his work is phenomenal and his compositions are singularly genuine and inventive.

    2.
    HANS ZIMMER: Adore: THE THIN RED LINE | Hate: THE SIMPSONS MOVIE
    JAMES HORNER: ALL THE KING’S MEN | BRAINSTORM
    CRAIG ARMSTRONG: PLUNKETT & MACLEANE | THE CLEARING
    KLAUS BADELT: INVINSIBLE | CATWOMAN
    JOHN BARRY: SWEPT FROM THE SEA | RAISE THE TITANIC (it bores me so much)
    JOHN WILLIAMS: A.I | SOUNDINGS (bloody awful atonal concert work which supposes it is too inventive while these things have been constantly composed since world war II)
    HARRY GREGSON WILLIAMS: SPY GAME | THE BORROWERS
    GABRIEL YARED: MESSAGE IN A BOTTLE | ADIEU BONAPARTE
    MARCO BELTRAMI: I, ROBOT | THE CROW: SALVATION
    ALEXANDRE DESPLAT: LUST, CAUTION | THE QUEEN
    JOHN POWELL: UNITED 93 | AGENT CODY BANKS
    JERRY GOLDSMITH: FIRST KNIGHT | LEGEND
    ENNIO MORRICONE: MALENA | MISSION TO MARS
    DANNY ELFMAN: THE HULK | THE NIGHTMARE BEFORE CHRISTMAS
    JAN.A.P.KACZMAREK: UNFAITHFUL | THE THIRD MIRACLE
    TREVOR JONES: AEGIS | EXCALIBUR
    JAMES NEWTON HOWARD: THE VILLAGE | MICHAEL CLAYTON
    ELLIOT GOLDENTHAL: FINAL FANTASY: THE SPIRITS WITHIN | FRIDA
    PHILIP GLASS: KOYAANISQATSI | CANDYMAN
    PATRICK DOYLE: NOUVELLE FRANCE | A LITTLE PRINCESS
    NICK GLENNIE-SMITH: WE WERE SOLDIERS | HIGHLANDER: END GAME
    JOHN DEBNEY: PASSION OF THE CHRIST | SEAQUEST DSV
    MYCHAEL DANNA: HEARTS IN ATLANTIS | RIDE WITH THE DEVIL
    BRIAN TYLER: CHILDREN OF DUNE | SIX-STRING SAMURAI
    TREVOR RABIN: NATIONAL TREASURE | CON AIR
    DEBBIE WISEMAN: ARSENE LUPIN | FLOOD
    ALAN SILVESTRI: CAST AWAY | THE ABYSS
    HOWARD SHORE: LOTR: THE TWO TOWERS | THE LAST MIMZY
    EDWARD SHEARMUR: K-PAX | EPIC MOVIE
    RYUICHI SAKAMOTO: FEMME FATALE | MERRY CHRISTMAS MR.LAWRENCE
    GRAEME REVELL: RED PLANET | BODY OF EVIDENCE
    ZBIGNIEW PREISNER: IT’S ALL ABOUT LOVE | SILENCE, NIGHT AND DREAMS
    RACHEL PORTMAN: HUMAN STAIN | CHOCOLAT
    MICHAEL NYMAN: THE LIBERTINE | RAVENOUS
    THOMAS NEWMAN: ROAD TO PERDITION | LITTLE WOMEN

    * NOTE: There are composers left out, several of them whose work is (for me) so perfect i couldn't think of a single one that annoys me so much to list! smile

    That's it for now! wave
    Love Maintitles. It's full of Wanders.
    • CommentAuthorTimmer
    • CommentTimeNov 30th 2007
    An interesting.....and controversial at times, list.

    I'll come back to this one later wave
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorNautilus
    • CommentTimeNov 30th 2007
    Timmer wrote
    An interesting.....and controversial at times, list.

    I'll come back to this one later wave


    I wll do it later too. Too much to think and too much to writte.

    And additional writter and thinker for me? biggrin
    •  
      CommentAuthorDemetris
    • CommentTimeNov 30th 2007 edited
    By all means, take your time people, this is meant to be as fun as possible and no fun to be had when you're in a rush!! smile

    Nautilus wrote

    And additional writter and thinker for me? biggrin


    biggrin
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorBobdH
    • CommentTimeNov 30th 2007 edited
    It'll change and expand the more I think about it, but for now, my first draft. The thing is, there aren't that many scores I have heard in full that I really dislike. smile

    1. It changes a lot, but, at the moment, ELLIOT GOLDENTHAL. His wide range, not being afraid to experiment with wild and agressive sounds while placing this against utter harmonic beauty (most noticably in Final Fantasy) gives him a rather unique sound. Especially his classic and dark, gothic undertones are unparalelled by any modern composer. Even when the score isn't really my cup of tea, I can always at least appreciate the mastership of it.

    2.
    JAMES NEWTON HOWARD: Adore: SNOW FALLING ON CEDARS | Hate: FREEDOMLAND
    DON DAVIS: THE MATRIX | JURASSIC PARK III
    TREVOR RABIN: ARMAGEDDON | GRIDIRON GANG
    MARK ISHAM: CRASH | RUNNING SCARED
    JAMES HORNER: THE NEW WORLD | TROY
    GRAEME REVELL: THE CROW: CITY OF ANGELS | ASSAULT ON PRECINCT 13
    JOHN DEBNEY: THE PASSION OF THE CHRIST | CHICKEN LITTLE
    HARRY GREGSON-WILLIAMS: SPY GAME | SHREK THE THIRD
    CHRISTOPHE BECK: ELEKTRA | THE SENTINEL
    DANNY ELFMAN: EDWARD SCISSORHANDS | THE KINGDOM
    CHRISTOPHER YOUNG: HELLRAISER: HELLBOUND | URBAN LEGEND
    BT: UNDER SUSPICION | CATCH & RELEASE
    KLAUS BADELT: EQUILIBRIUM | CATWOMAN
    MARCO BELTRAMI: 3:10 TO YUMA | ANGEL EYES
    JOHN WILLIAMS: THE LOST WORLD | HEARTBEEPS
    ALAN SILVESTRI: CAST AWAY | NIGHT AT THE MUSEUM
    MICHAEL GIACCHINO: RATATOUILLE | MISSION: IMPOSSIBLE III
    CRAIG ARMSTRONG: MOULIN ROUGE | WORLD TRADE CENTER
    RAMIN DJAWADI: BEAT THE DRUM | PRISON BREAK

    It's fun indeed to think about it that basically every composer has his good days and bad. Good topic! wave
    •  
      CommentAuthorDemetris
    • CommentTimeNov 30th 2007 edited
    Bob, FREEDOMLAND, GRIDIRON GANG, RUNNING SCARED and SHREK THE THIRD are pretty nasty indeed.

    I'd say the same for Beltrami's THE CROW: CITY OF ANGELS though, i never got around to liking that one.

    THE SENTINEL is cool, i like that.

    wave
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorBobdH
    • CommentTimeNov 30th 2007 edited
    Christodoulides wrote
    I'd say the same for Beltrami's THE CROW: CITY OF ANGELS though, i never got around to liking that one.


    Neither do I like Beltrami's The Crow input, but I'm talking about Graeme Revell's score wink You heard that one? Thrilling stuff!
    •  
      CommentAuthorDemetris
    • CommentTimeNov 30th 2007 edited
    BobdH wrote
    Christodoulides wrote
    I'd say the same for Beltrami's THE CROW: CITY OF ANGELS though, i never got around to liking that one.


    Neither do I like Beltrami's The Crow input, but I'm talking about Graeme Revell's score wink You heard that one? Thrilling stuff!


    Ah sorry, i meant Revell's! I never liked it although i think i am the only one! smile
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorBobdH
    • CommentTimeNov 30th 2007
    Christodoulides wrote
    Ah sorry, i meant Revell's! I never liked it although i think i am the only one! smile


    Yeah, you are! tongue
    •  
      CommentAuthorNautilus
    • CommentTimeNov 30th 2007 edited
    Q1
    Hans Zimmer. Im not a typical Zimmer fanboy.I have a Love/Hate relationship with him. His obsessive way to composer for Synth, His additional composers and his non-typical way to compose , sometimes really annoys me!BUt....

    He introduced me into this movie music world with his more accesible Pop oriented Scores.
    Zimmer has something in his music that really touches me. His dramatic music, his power Anthems, his charming little scores....He Is a very visceral composer, Who composes always in a direct way with the melody. Without Boring descriptive passages (for better or for worst) and with a sense of being beyond the images (also for better or for worst )

    BUt ZImmer is not only his music. Is a way to life, a way to feel. He is a cool guy, He is weird and he is crazy! I love that! He is not like other people, He is unique!

    One of the Happiest moments in my life is when I talked with him In Madrid. I will never forget it!

    Q2

    Hans Zimmer: Adore :The Da Vinci Code Hate: Younger and Younger
    Jerry Goldsmith: Total Recall / Logan's Run
    John Powell: Happy Feet / Just Visiting
    James Horner: Apollo XIII / Name of the Rose
    John Williams: Empire Strikes back / The Shindler List
    Michael Giacchino: Lost / The Lost world
    Danny Elfman: Black Beauty / Nighmare before Christmas - The rest.
    David Arnold: Stargete / Four Brothers
    Thomas Newman: Road To Perdition / American Beauty
    [Elioth Goldenthal: Final Fantasy /A time to kill
    Trevor Jones:Cleopatra / Excalibur
    James Newton Howard: Snow Fallin on cedars / King Kong
    Alan Silvestri: Judge Dredd / Super Mario Bros
    Trevor Rabin: Armaggedon / The one
    Harry Gregson Williams: Spy Game / Domino
    Klaus Badelt: Rescue Dawn / Basic
    Brian Tyler: Darkness Falls / War
    •  
      CommentAuthorDemetris
    • CommentTimeNov 30th 2007
    Nice reply to Q1. What happened to Q2?
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorNautilus
    • CommentTimeNov 30th 2007
    Christodoulides wrote
    Nice reply to Q1. What happened to Q2?


    Im updating.

    Why not put Why Do you love or hate?
    •  
      CommentAuthorDemetris
    • CommentTimeNov 30th 2007
    Oh, if you want to expand be my guest, i'd love that!
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorThor
    • CommentTimeNov 30th 2007
    1. JOHN WILLIAMS - because of the obvious symphonic flair and vivacity that everyone loves, but even more because of his firm grasp of what I call "The Religious Sound". Also because of his extreme versatility - going from arrangements to performing piano to jazz albums to modernistic concert works to neoclassical film scores.

    2.
    JOHN WILLIAMS - JURASSIC PARK / JOHN GOLDFARB, PLEASE COME HOME
    DANNY ELFMAN - EDWARD SCISSORHANDS / EXTREME MEASURES
    ELLIOT GOLDENTHAL - ALIEN 3 / PET SEMATARY
    JERRY GOLDSMITH - THE MUMMY / HAWKINS ON MURDER
    JAMES HORNER - STAR TREK II / THUNDERHEART
    HANS ZIMMER - BEYOND RANGOON / FRUIT MACHINE
    I am extremely serious.
    •  
      CommentAuthorDemetris
    • CommentTimeNov 30th 2007
    Thor, what would you consider as the best and most representative scores of that John Williams "Religious sound" you talk about above?
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorThor
    • CommentTimeNov 30th 2007 edited
    To make things easy, I'll just forward you to a little thing I wrote on this particular sound many years ago, complete with examples:

    http://celluloidtunes.net/williams.htm

    It's not quite up-to-date, though, as there have been quite a few examples since ANGELA'S ASHES.
    I am extremely serious.
    •  
      CommentAuthorDemetris
    • CommentTimeNov 30th 2007
    Thanks
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorNautilus
    • CommentTimeNov 30th 2007
    Thor wrote
    1. JOHN WILLIAMS - modernistic concert works


    What?
    •  
      CommentAuthorDemetris
    • CommentTimeNov 30th 2007
    Like Soundings i'd suppose.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorThor
    • CommentTimeNov 30th 2007
    Nautilus wrote
    Thor wrote
    1. JOHN WILLIAMS - modernistic concert works


    What?


    What what? Have you heard any of his concert works? Like the flute concerto?

    And no, I wouldn't necessarily include "Soundings" among the more modernistic works, as that is one of the more accesible works of his.
    I am extremely serious.
    •  
      CommentAuthorBobdH
    • CommentTimeNov 30th 2007
    This thread really keeps nagging on you and makes you to come back every time you thought of something cheesy
    •  
      CommentAuthorDemetris
    • CommentTimeNov 30th 2007
    Yeah but i don't see much participation so far. I hope it's because you people are preparing your lists! I thinik it's a very interesting opportunity to drop some 'covers' and express our real film score loving / hating selves! biggrin Oh and please, do comment on others' lists, there's nothing like a "forbidden to comment and debate" thingy going on in this thread, so bring it on! wave
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorBobdH
    • CommentTimeNov 30th 2007 edited
    Okay, you asked for it biggrin

    THOMAS NEWMAN: Hate: LITTLE WOMEN


    How can you hate this cute little score? confused Do you really hate it, or does it just not do anything for you? Since it's such a good match for the film. Nothing overly special, but I can't see how to have anything against it!

    MYCHAEL DANNA: HEARTS IN ATLANTIS | RIDE WITH THE DEVIL


    Interesting, I'd probably switch 'em! biggrin I haven't heard Hearts in Atlantis outside of the film, it was just so 'blah' within it that I hardly noticed it! (which is a rare thing for me). While Ride With the Devil... well... how could you not get addicted to Clark Farm Shootout?

    MICHAEL NYMAN: Hate: RAVENOUS


    Mmm... Have you seen the film? I'd say it's indeed quite hard to get into it, but ultimately I really came to appreciate it (even though I didn't care for it at first). It also elevates the film, because of it's weirdness. It's a really unusual score, which I usually admire in a composer, and that's the main thing I like about it.

    Overall, are all these picks because you really hate them, or do you sometimes just don't like 'em? Like Desplat's The Queen? And I have to ask: didn't you, when you're brutaly honest, think the opening of The Crow: City of Angels rocked just even a little bit? biggrin

    And Nautilus:
    John Williams: Hate: The Shindler List


    confused

    Didn't you think it contains the most heartbreaking cues you ever heard, especially in relation to the film? I think this is probably one of the very few scores I've never heard anyone not liking it before... It's such a perfect fit, I cannot see how the film otherwise could have been scored. Especially with the inclusion of the Jewish songs... It's a masterpiece! So... explain, please kiss

    Danny Elfman: Black Beauty / Nighmare before Christmas - The rest.


    I can see you're really trying to contain yourself not to expand! At least you gave a little resistance, beding the rules a tiny bit! biggrin
    •  
      CommentAuthorDemetris
    • CommentTimeNov 30th 2007 edited
    BobdH wrote
    Okay, you asked for it biggrin

    THOMAS NEWMAN: Hate: LITTLE WOMEN

    How can you hate this cute little score? confused Do you really hate it, or does it just not do anything for you? Since it's such a good match for the film. Nothing overly special, but I can't see how to have anything against it!



    Cute. Little. Blingi-ty, blongy. Fluffy. vomit



    MYCHAEL DANNA: HEARTS IN ATLANTIS | RIDE WITH THE DEVIL

    Interesting, I'd probably switch 'em! biggrin I haven't heard Hearts in Atlantis outside of the film, it was just so 'blah' within it that I hardly noticed it! (which is a rare thing for me). While Ride With the Devil... well... how could you not get addicted to Clark Farm Shootout?



    Oh i could mate, believe me i could!


    MICHAEL NYMAN: Hate: RAVENOUS

    Mmm... Have you seen the film? I'd say it's indeed quite hard to get into it, but ultimately I really came to appreciate it (even though I didn't care for it at first). It also elevates the film, because of it's weirdness. It's a really unusual score, which I usually admire in a composer, and that's the main thing I like about it.


    No, nor do i plan to put myself through such a torture! I've listened to the score only once and i intend to keep it that way, my ears were almost bleeding towards the end!


    Overall, are all these picks because you really hate them, or do you sometimes just don't like 'em? Like Desplat's The Queen? And I have to ask: didn't you, when you're brutaly honest, think the opening of The Crow: City of Angels rocked just even a little bit? biggrin


    Both are also scores i played just once. THE QUEEN is as silly as NO Desplat score should ever be again and from Crow, yes, i liked that opening, the piece everybody knows. But that's just it, i am not eager to listen to that. As for the more rhetorical question, yes, i'd say that at least a 95% of the cases i posted on the right column are scores i can't possibly listen again. And i'd classify that as 'hate'.

    If some of you don't feel comfortable with it, it's all right with me, you can alter it into something that expresses your sentiments more accurately; like "Can't stand it", "don't like it at all", stuff like that. But please no "it's good but it could be better" mildness!     It won't make any difference as we've all said the latter many a few times so far! smile
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorBobdH
    • CommentTimeNov 30th 2007
    Hehe, you've made yourself clear smile
    •  
      CommentAuthorDemetris
    • CommentTimeNov 30th 2007
    That's the spirit! It would not be an actual discussion board without the...discussion wink Bring it on! AND your own lists! wave
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorNautilus
    • CommentTimeDec 1st 2007 edited
    BobdH wrote

    Didn't you think it contains the most heartbreaking cues you ever heard, especially in relation to the film? I think this is probably one of the very few scores I've never heard anyone not liking it before... It's such a perfect fit, I cannot see how the film otherwise could have been scored. Especially with the inclusion of the Jewish songs... It's a masterpiece! So... explain, please kiss


    Shindler List is my favourite Spierlberg movie (With Close Encounters, A.I and E.T).

    Ironically This is one of the movies where Spierlberg makes a movie less sacharine than the music that goes with it.I find Williams score breaks a little bit the realism of the movie, being too obvious. Like ...Ey! I put a sad violin melody because you have to cry right here!

    BobdH wrote

    I can see you're really trying to contain yourself not to expand! At least you gave a little resistance, beding the rules a tiny bit! biggrin


    A lot of resistence, But Im happy with only being said "the rest". Im really more mature than when I was banned from moviemusic.com.

    I must admit when I went to Ubeda and everybody talked about Elfman like if he was God, I felt like if I was in the middle of a satanic group.
    •  
      CommentAuthorDemetris
    • CommentTimeDec 1st 2007
    Nautilus wrote
    I must admit when I went to Ubeda and everybody talked about Elfman like if he was God, I felt like if I was in the middle of a satanic group.


    I'd have felt the same too.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorBobdH
    • CommentTimeDec 1st 2007 edited
    Nautilus wrote
    Ironically This is one of the movies where Spierlberg makes a movie less sacharine than the music that goes with it.I find Williams score breaks a little bit the realism of the movie, being too obvious. Like ...Ey! I put a sad violin melody because you have to cry right here!


    Mmm... fair enough, I know the feeling smile In fact, many times with this kind of movie, I feel that way, preferring no music at all (the best episodes of Band of Brothers, I feel, are the ones without a score shame ). Yet, with Schindler, and in general the way Spielberg handles music in his films like also Saving Private Ryan, I greatly admire the minimum use of music, only 'creeping up' in certain moments, while leaving other key moments unscored. So, when that violin enters, it's use is greatly justified. The scenes are so emotional, it's okay to underscore it with such an emotional instrument. smile
    • CommentAuthorTimmer
    • CommentTimeDec 1st 2007
    Thor wrote
    Nautilus wrote
    Thor wrote
    1. JOHN WILLIAMS - modernistic concert works


    What?


    What what? Have you heard any of his concert works? Like the flute concerto?

    And no, I wouldn't necessarily include "Soundings" among the more modernistic works, as that is one of the more accesible works of his.



    Too right it's accessable! I really liked Soundings but it doesn't seem very popular with many here.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt

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