JOHN DEBNEY

You forgot to add DRAGONFLY and of course THE PASSION OF THE CHRIST SYMPHONY.

TOP STUFF!

Wasn't Debney's involvement in Looney Tunes because Goldsmith was basically on his death bed and COULDN'T complete the score HIMSELF. Is Edelman dying? Or did he not have enough time to complete the score?

-Erik-

Well, Arnold did write demo material. Harlin didn't like Arnold's themes but maybe he liked the style. Anyway, I can hear a bit of Arnold's style in CutThroat but its more based on the works of the Golden Age masters and Debney's own sound then Arnold's. Yes, Debney's own sound. He does, at times, have one. Again, at this time his sound is very Williamsesque but you can hear some of what Debney's was starting to create for CutThroat in scores like SeaQuest and The Cape.



I'd have to agree... but it's still a spectacular score. BTW, don't forget the Horner's GLORY and Arnold's STARGATE theme that he used as well.



Sure, you can improve on the sound but James is still pointing our that the blueprint... and in this case... the rips off come directly from Battle of the Heroes... and various other scores. Anyway, I love Lair even though it derivative as all hell.




There is no doubt that Debney has skill and talent. but doesn't really go above and beyond like other composers do. And when he does... its a rare occurrence. But I like the sound that he uses. It's a throw back to the 80's symphonic sound that I liked. It might not be the most unique music in the world but it's enjoyable.

-Erik-

Oops, my mistake! In that case I will say it stands alone in his filmography and ask why the hell he's never done anything as good since.



??? Of course, otherwise I wouldn't know that POTC just lifts from them (and other things). As I keep saying - it's a great album! But let's not pretend it's anything original. It does show - for perhaps the only time in his career - that there's something really heartfelt there, something which goes beyond a slightly mechanical, technical accomplishment into a genuine emotional experience. Obviously I'm only talking about my reaction to his music and yours is clearly different, but all I can talk about is my own reactions!



Well, since Battle of the Heroes IS in Lair, and indeed forms the basis of large parts of it, that's a curious comment. There's nothing in Lair which is remotely as accomplished as the Star Wars prequels, much though that's what it's trying to be like (and was obviously temp-tracked with, if they have temp-tracks in computer games!)

There's no Debney music on the CD, unless they've changed it after he was brought in.

I believe it was unforeseen circumstances that rendered Edelman unavailable. He is quite healthy!! (Isn't this how rumors get started?!)

Edelman was not able to redo do to unforeseen circumstances - it's not like he got his shot, didn't succeed, and then Debney was called in. (At least, that's my understanding of the situation. Could be wrong!)

I'm with Tom on this. It's not always nice to have a bunch of rejected music on a CD, whereas what's used in the film goes unreleased. Being Debney though, I wouldn't be surprised if he releases a promo (take Spider-Man 3 for example).

I totally agree here. I think Debney wanted to create the ultimate Golden Age pirating score homage, and I think he succeeded.


I know what you mean about that Stargate thing, but where the hell is Glory in it? I´m really curious.


I agree that Lair is far from original. I consider this to be an inside joke by Debney, since the lift-offs are obvious as hell. But then again that´s what makes the score so much fun. He stole the best from the best and combined it into one album, as if he wanted to say, there you go, have fun!!! i tend to chuckle a lot while listening to Lair, while the prequels just... sound good. They almost never hit an emotional spot in me; there are just one or two tracks in Episode 3 which make me feel anything at all, and one of them is a direct Gladiator lift off. Who would have expected that from a Williams score? I certainly didn´t.


I´ll sign that immediately.

Actually, those two very distinct chords that make up these themes are used a lot in the Bond scores. It's hard to describe as I am sorely lacking in musical terminology, I would need a piano to explain what I mean. (At this point you're probably thinking I'm nuts. More so than usual.)

They make out as though it's a particularly novel thing we're getting a new score from Debney!

....and for a comedy (another one by Debney : either he composes them while sleeping, or he REALLY likes this kinda films).

I'm sure Debney could more than survive on the money he's made already... which begs the question, why be such a composing whore when you have the talent to actually do greater things? I just don't get Debney. Why is it someone with so much talent continually scores garbage? Does he really like putting his talents to such use? I know "arteests" can suffer from too much pretense and pride, but Debney doesn't have enough of it!

How are you so sure he "could more than survive on the money he's made already"? We don't know anything about his circumstances, his family life, how big his home(s?) are or whether he's spent all his cash on booze, drugs and fast women? Cash wise I'd bet he's an utter pauper compared with the likes of Barry, Williams & Zimmer et el.

Unless you know something I don't?

Indeed, I remember that one too