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      CommentAuthorDemetris
    • CommentTimeDec 15th 2010
    I am not commenting how things work; we all know that and it's beyond discussion, the awards and all. We are simply talking about the scores themselves and i disagree with you. To my ears they sound the same. When Santaolalla did it, everybody fell on him and barked (rightfully and justified imo but that's not the point here). I am curious if now that Rahman does the similar approach, if people will jizz themselves (i stole it from you, i liked it wink ) which is what appears to happen 'till now.
    Love Maintitles. It's full of Wanders.
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      CommentAuthorSouthall
    • CommentTimeDec 15th 2010
    When Santaolalla did it, most people said "well, it's OK, but hard to see what the fuss is about" apart from the awards organisations, who all gave him all the awards. I don't think anyone here is saying it's anything more than a competent score - apart from the Golden Globes!
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      CommentAuthorDemetris
    • CommentTimeDec 15th 2010 edited
    You're right so far, but let's wait and see; i would argue that BP - for one, seems to disagree wink As for the awards (golden globes and Oscars) i couldn't care less, i don't argue about those, they don't concern me.
    Love Maintitles. It's full of Wanders.
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      CommentAuthorBhelPuri
    • CommentTimeDec 15th 2010 edited
    Christodoulides wrote
    ". I can't believe the amount of cognitive dissonance shown here. "

    Here goes the smart-ass guy comment of the day wink Bp, it's a tastes' thing. How many scores like that are written each year that sound like that one but still nobody knows / talks about them? (Michael Brooks' "the fighter", everything by Tomanddandy or Asche and Spencer, "Things we lost in the fire" by Johan Soderqvist, Jon Brion's scores, Mark Isham during the last couple of year (and he got bad-mouthed for writing "drones"), John Murphy's smaller scores (he writes this style ages ahead btw) - and the list is endless, and nobody talks about them?



    OK. I'll try again since you missed the point. The reason I pointed out the dissonance is that you're judging Social Network based on how well the score worked in the movie. But then you're panning 127 Hours because the music doesn't appeal to you (basic/neutral/poor) despite the fact that you didn't see the movie. Why apply the criterion selectively?


    Suddenly Rahman writes a couple of guitar chords and you run kissing his ass; it's pretentious.


    Nice use of a strawman. Perhaps you missed my original post where I said that 127 Hours was undeserving of a score nomination.


    And i never compared the two, social network and this; you did.


    Dude! I wasn't even comparing the scores. I found it odd that you applied a certain criterion to judge one but not the other.

    i said i'd take Santaolalla over Rahman for this one 'cause i prefer the more dramatic, sensitive and more melodic approach he showcased for a film like Babel, 21 grams and Amores Perros (for instance) over this anyday. Don't try and alter my words to emphasize your point.


    One last time, Demetris. They are different movies and by your own rule of merit you should not harbor anything against a score that used less melody than another because the former fit the movie better.



    To digress a bit I do understand what you mean about the little scores that do their job effectively but win no acclaim. Unfortunately a lot of the music awards have been based on popularity rather than expression of musical talent. It's like selecting a Best Actor. You could argue that every actor (whether leading role or not) played his part to perfection. But you end up awarding only those actors who played challenging roles and demonstrated the most of their talent. Tough on the other actors. That's similar to how I'd rank scores. I judge them for what they demonstrate by way of thematic writing, intelligence, melody and expression of ideas.


    Southall wrote
    When Santaolalla did it, most people said "well, it's OK, but hard to see what the fuss is about" apart from the awards organisations, who all gave him all the awards. I don't think anyone here is saying it's anything more than a competent score - apart from the Golden Globes!


    Exactly!
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      CommentAuthorNautilus
    • CommentTimeDec 15th 2010
    Southall wrote

    If Hans Zimmer had written Inception for a film which nobody saw then it wouldn't have got a nomination; if .


    Have you watched the movie? or not yet?