ALAN SILVESTRI

How demoralising! Having to score all that complete and utter bilge.

Is he really that same composer we (well you) heard in the 80's?

I'm mostly looking forward to G.I. Joe! I already have a sort of mental idea how it's gonna sound like, hehe

Synths + Amazing + same sentence =

Quiet..I was..testing you..

Seriously though, synth work that's older than 10 years pretty much sucks. It just reminds me of the 70s/80s disco music.

Thor gives out "a wording up"

Quite right too.

You must also add Giorgio Moroder to that list.

Yeah, I agree that the movie is pretty bad, but I actually think Silvestri's score worked quite well. Gave a stark and "sober" grittiness to the bleak surroundings and worked in much the same way as Horner's score for THE NAME OF THE ROSE. I've always been a firm believer in unorthodox music for period epics, because when it comes down to it, even the neoclassical, romantic Korngold approach is equally "out-of-place" in a period epic as synth music. It's just that we have gotten used to it due to convention and it somehow feels more appropriate. This is one of the reasons why I think LADYHAWKE is a pretty good score.

Oh, jeez. Drool, drool. Thor, you've just named a place I want to visit at any cost.

The thing is that with notable exceptions (Spanglish, Batman Begins AS A FILM SCORE, PotC 3, Da Vinci Code ONLY AS ALBUM), Zimmer didn't put much mind recently. Saying that as a fan.

I do agree with you Thor, there are examples and Horner's Name Of THe Rose is a good one, he nails a particular sound and feel perfectly but it's also helped a lot by the Gregorian Chant tracks.

As for 'Cavebear' I'll just leave it that I prefer my prehistoric scores more Nasibene and Sarde.

What is Silvestri doing these days? He doesn't get as many scoring assignments as he used to. I hope any recent problems have not affected him.

Well said. It didn't need to be "new", it's a typical 'animated' Powell score and that's fine by me... well, perhaps a little crazier than usual!

Do you think Powell's sound has gotten stale, Southall? I can take his ''usual'' for a while longer, but obviously a change in direction will be required at some point.

I think he's still just about got away with it... I don't think he will for much longer though. He's a very promising film composer, but compare his first ten years with the first ten years of other notable composers of the past and present and you find a more limited range. I love his action style, but if the next one is basically another retread of the same idea then I don't think I'll be interested - heard it enough now, time to move on to something fresh. Of course, on the other hand he probably gets hired and gets told "I want this to sound like Bourne", so that's what he must do, so it's tricky.

Steven, it was just a flippant remark that Demetris had already made. I don't really understand why it's great that Powell always sounds the same, but people (I know, not you) rip into Horner for the same thing. Animation represents a very significant portion of Powell's output and there's no great difference between the scores; it represents a tiny minority of Horner's output, yet his animated scores have far more variety. And it's Horner who gets the criticism for repeating himself. That's all I meant.

I guess I'm not so much of a "critic" as I used to be, and certainly not as much as some of the other fine people of this forum.

I don't expect too much from new scores, I just hope for something good. If it's not, I don't worry about it too much and enjoy the music I already have. My view on film music has seriously relaxed over the past few months, and I don't have anything major against any particular composer. This isn't meant to sound like a preach, I'm simply stating my view on film music!

I like what I like and I love what I love. What I don't, I don't worry about.