[Closed] Now Playing XXXVII

Moon - Clint Mansell

There are really only two cues worth repeat listening, "Memories" and "The Nursery" both dealing with a soft simple piano theme. The rest (the thriller, suspense, rock) underscore does not invite much interest otherwise.

Rambo: First Blood Part II - Jerry Goldsmith

The ultimate macho action score. "Escape from Torture" -

I think Sky Battle features some of the best action writing he's done, too (and one of the best I've heard this year). I think that while the score could've been thematically stronger, he's really nailed the tone of the book and I'm really eager to see how it plays in the film.

HANS ZIMMER - pirates of the Caribbean: at world's end

Entertaining Zimmerisms. The 2nd part, the dramatic pieces, is mind-blowing at places.

You can't blame Horner though. He had an insane amount of pressure put on him because of that debacle...

Angels in America - Thomas Newman

"Black Angel"...

What matters is how it plays on the album, not in the movie.

Yes, and that aforementioned track, more than any other, makes me wish Newman would do an action thriller...just to see how it would sound.

Well yes, but what makes us special is that we can enjoy this stuff without needing to a see a film.

NP: Harry Potter ... etc etc (dandy frenchman)

It's interesting. There are definitely repeated ideas, with development, but that's not the same as glorious themes, and I can see where Erik and Broxton are both coming from here.

Some reactions:
- For those who want more oomph with Desplat, I think this score finally delivers on that front. The action is a lot less scattered in its drive than New Moon's, and unlike Golden Compass, there's quite a bit of action too. Overall, the energy of his compositions remain one of his main strengths, whether it be the lighter allegros or the aggressive ones.
- His orchestrations remain a strong point. Some nice allusions to old & new Williams via Tchaikovsky and Stravinsky. Moment-by-moment, he really is working to find ways to keep it interesting. Possibly the most interesting connective underscore of any composer working at the moment? (To be honest, none of it feels like connective underscore, and when I think of what Howard Shore or James Newton Howard would write for those scenes where nothing big is happening, I do think we're pretty lucky to have this guy working in film. It's a different emphasis.)
- It is one of the less rewarding Desplat scores from the melodic viewpoint. It's teaming with little melodies (many variations of others and only appearing once in that variation), and action melodies, and emotional moments, but it somehow isn't punching through in this form. You just want one big long-lined melody that somehow all the little ones are derived from, and you want that long line melody to somehow tie in with one of Williams' ideas in a big way. MY THEORY: There were 2 gorgeous waltz themes running through the score that somehow connected everything, but Desplat heard Erik Woods wouldn't like it, and just wrote out theme in the album mixing. )
- I'm surprised there's not more Willliams references in it. Maybe Yates vetoed it, or maybe Desplat just didn't want to go there? Or maybe there's less on the album to save paying royalties?

I'm glad I heard this. It's such a step up from Hooper's first score (I never heard the second), and like Doyle's, it's definitely worth hearing a new voice in the Potter landscape. I think Williams still has the trophy firmly in hand for AZKABAN though. (Not keen on the first two scores apart from their themes here.)

Now on to The Painted Veil...I don't understand how people can say Desplat's music is cold and sterile. This score is a lush masterpiece...

The Room of Requirement it's my favorite cue, along with Possession. I wish that the music of Harry and Luna's talk in the Forbidden Forest gets released. That's my favorite unreleased cue of the movie.

How about 'moving on'?

I agree. 'Parallelocam' is another of the highlights. I LOVE the Oceanic Six theme. One of the most beautiful themes (if not the most beautiful) Giacchino has ever composed.

The Last Airbender - James Newton Howard

It may not have memorable themes, but it does have a memorable sound, like one that makes you sit up and notice. Not love at first hearing, but whenever I return to it, I'm enjoying it a lot. Here is a score that works well enough on disc, without having to see the film... not that we'll miss out on anything right?

I'm shuffling through four more scores today including Gabriel Yared's heart breaking score to City of Angels. I'll then be listen to for the very first time Bruce Smeaton's score to Iceman. I'll then move onto MovieScore Media's very first release, the excellent jazz score Unknown Solider by Peter Calandra. I will then end the day with a score I could play on endless repeat, Rachel Portman's masterpiece,The Cider House Rules!

-Erik-