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[Closed, Sink] Now Playing XXXVIII

General Discussions » Now Playing XXXVIII (Posts 1261 to 1290 of 3051)

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    •  
      CommentAuthorDemetris
    • CommentTimeFeb 17th 2011
    yonythemoony wrote
    NP: Exodus - Doomsday (Tyler Bates)

    Epic. Sorry, haters. But when someone asks this guy to write music without a overload of electronic noise, he can do it very well (I heard very good thing about his score for The Way, and his jazz/tropical score for What's The Worst That Could Happen? is very good)


    I don't even know if you're serious or sarcastic.
    Love Maintitles. It's full of Wanders.
    • CommentAuthorTimmer
    • CommentTimeFeb 17th 2011
    Atham wrote
    Timmer wrote
    Atham wrote
    DreamTheater wrote
    Enjoying these opening tracks from SUPERMAN THE MOVIE: Prelude and Main Title / The Planet Krypton / Destruction of Krypton / The Kryptonquake.

    My adoration of the complete Superman score is pretty much summed up in those 21 minutes. Legendary film music and one I simply cannot live without!!!! punk


    I love the huge epic nature of the Krypton portion of the score. It's like a symphony in itself.
    Majestic, thrilling and very dramatic. But then again, the whole score is pure Williams awesomeness to me!


    You're on a roll of playing greatness! punk


    Indeed! We share a refined taste Mr. Tim sir. beer
    Later I plan to listen to The Lion In Winter, Jaws 2, Poltergeist and Conan if time alows.


    It doesn't get much better than that.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  3. Christodoulides wrote
    yonythemoony wrote
    NP: Exodus - Doomsday (Tyler Bates)

    Epic. Sorry, haters. But when someone asks this guy to write music without a overload of electronic noise, he can do it very well (I heard very good thing about his score for The Way, and his jazz/tropical score for What's The Worst That Could Happen? is very good)


    I don't even know if you're serious or sarcastic.


    Yes, I'm serious. I'm not part of the crowd who hates this guy and thinks that all his music is the worst thing in the world. He has composed some decent stuff (like some parts of his Watchmen score, especially Just Look Around You and Don't Get Too Misty Eyed). And the whole 300/Titus thing? It's not a big deal. Bates didn't break into Goldenthal's house and stealed his Titus score, it was all temp track.
    •  
      CommentAuthorDemetris
    • CommentTimeFeb 17th 2011 edited
    No, it's not a single plagiarizing or temp track love case; it's copy-paste, note by note at various instances. It's the only one of the myriad of such cases that's in the courts. And for a composer who has composed so many scores, and a fan of him like you are, to say "he composed some good stuff, like parts of the Watchmen score (*add a couple of cues here and there*) is really not a pretty good record, is it? wink
    Love Maintitles. It's full of Wanders.
  5. Christodoulides wrote
    No, it's not a single plagiarizing or temp track love case; it's copy-paste, note by note at various instances. It's the only one of the myriad of such cases that's in the courts. And for a composer who has composed so many scores, and a fan of him like you are, to say "he composed some good stuff, like parts of the Watchmen score (*add a couple of cues here and there*) is really not a pretty good record, is it? wink


    Well, I didn't say that I'm a fan from him. I'm saying that I'm not part of the people when sees his name in a new proyect, start to complain. He indeed made some bad scores, but he can do good music too.
  6. NP: Encuentro en la Academia - Sin Fin (Ángel Illarramendi)

    Peaceful strings with a guitar playing the main theme. I watched this movie yesterday, and I love that Illarramendi had the chance to write such a good music for a song-driven film, especially a film about a rock band.
    • CommentAuthorTimmer
    • CommentTimeFeb 17th 2011
    yonythemoony wrote
    Christodoulides wrote
    yonythemoony wrote
    NP: Exodus - Doomsday (Tyler Bates)

    Epic. Sorry, haters. But when someone asks this guy to write music without a overload of electronic noise, he can do it very well (I heard very good thing about his score for The Way, and his jazz/tropical score for What's The Worst That Could Happen? is very good)


    I don't even know if you're serious or sarcastic.


    Yes, I'm serious. I'm not part of the crowd who hates this guy and thinks that all his music is the worst thing in the world. He has composed some decent stuff (like some parts of his Watchmen score, especially Just Look Around You and Don't Get Too Misty Eyed). And the whole 300/Titus thing? It's not a big deal. Bates didn't break into Goldenthal's house and stealed his Titus score, it was all temp track.


    Watchmen was okay but it does say something, for me anyway, that the most memorable piece of "score" was an existing track from Philip Glass.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorDemetris
    • CommentTimeFeb 17th 2011
    Everybody commented on the usage of that piece indeed, including non-traditional channels such as non-film music fans.
    Love Maintitles. It's full of Wanders.
    • CommentAuthorTimmer
    • CommentTimeFeb 17th 2011
    NP : LOOKING FOR RICHARD - Howard Shore



    Big, powerful stuff, love it.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  10. One of my favourite scores.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    • CommentAuthorTimmer
    • CommentTimeFeb 17th 2011 edited
    Yeah, I don't blame ya! wink beer It was this score and DOGMA that made me think that maybe just maybe Shore was the right choice for LOTR, and he certainly was!
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorEric
    • CommentTimeFeb 17th 2011
    NP : Escape To Victory - Bill Conti

    One I return to regularly with much pleasure ... smile
    "Simplicity is the key to brilliance"
  13. BASIC INSTINCT - JERRY GOLDSMITH

    I need to return this one often, the genius of this score is at times mindblowing. When Jerry was very inspired, he wrote stuff like this. Lucky for us he was inspired at least once a year during that the 80s and 90s. The climax is also one of the best he has ever written. Chilling and powerful!
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
    •  
      CommentAuthorLSH
    • CommentTimeFeb 18th 2011
    NP: THE SHAWSHANK REDEMPTION - THOMAS NEWMAN

    Always a rewarding listen, especially when it's been a while since the last. The main theme is simply one of the best ever IMO.

    I love the title cue with its slow, mysterious buildup charging towards an eventual triumphant release, which is just... transcendental.

    cool
    • CommentAuthorTimmer
    • CommentTimeFeb 18th 2011
    LSH wrote
    NP: THE SHAWSHANK REDEMPTION - THOMAS NEWMAN

    Always a rewarding listen, especially when it's been a while since the last. The main theme is simply one of the best ever IMO.

    I love the title cue with its slow, mysterious buildup charging towards an eventual triumphant release, which is just... transcendental.

    cool


    A fantastic score, I love it all but the incredible title cue you mentioned is exactly as you described and a sublime highlight, the film is in my all time top 10.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorLSH
    • CommentTimeFeb 18th 2011 edited
    It's one of those extremely rare films that, despite being flawlessly structured, you just don't want to end. Nevertheless you feel so warm and satisfied when it does. It's just such a beautifully crafted film - in every aspect. I could sing praises forever about it.

    I think I'm due another viewing soon. My dad absolutely loves the film too - in fact I think I might take the DVD with me when I visit him next week. cool
  17. Timmer wrote
    LSH wrote
    NP: THE SHAWSHANK REDEMPTION - THOMAS NEWMAN

    Always a rewarding listen, especially when it's been a while since the last. The main theme is simply one of the best ever IMO.

    I love the title cue with its slow, mysterious buildup charging towards an eventual triumphant release, which is just... transcendental.

    cool


    A fantastic score, I love it all but the incredible title cue you mentioned is exactly as you described and a sublime highlight, the film is in my all time top 10.

    Amen. The title track is one of Newman's best compositions, and also one of the best in film music, period. I'd rank it with "Cinderella Man", "American Beauty", "Black Angel", and "The Good German."
    •  
      CommentAuthorLSH
    • CommentTimeFeb 18th 2011 edited
    There are Newman albums that I listen to more than The Shawshank Redemption - The Horse Whisperer and Angels In America for example - but there are not many films that I can name with a score that is as perfect for the picture as Shawshank is. Utterly sublime.

    The piece of music that sticks in my head is the one which accompanies Red's paroled release and eventual discovery of the box that Andy Dufrene left for him in the field (Compass And Guns, on the album). The music begins with Brook's theme, which helps lead the viewer to fear that Red will go the same way - encouraged in the film by a similarly touching monologue by Freeman's character - but then develops into such an uplifting albeit haunting string led version when he heads towards the tree that Andy had mentioned, to go find the box. It's one of my all-time favourite compositions because of its subtle and yet intensely cathartic performance.

    The whole score is one of those which you can enjoy so much more after having seen the film because it is just so representative of its message. Beautiful.

    The reason this film (and through association, the music) means so much to me is that I discovered it shortly after my Grandmother passed away, the first time in my life in which I experienced true sadness. I watched it almost every week for quite a few months and, though it brought me to tears every time, it also inspired me with a great deal of positivity and, to reference the film itself, hope.

    smile
  19. I think another example of music and image becoming one in Newman's case is the scene where Tom Hanks' character and his son are arriving in Chicago for the first time in Road to Perdition. The combination of the rising strings and the reflection of the Chicago skyline are cinematic perfection, matched only by the lonely piano that plays during Paul Newman's final scene in that film. A similar effect was accomplished in Revolutionary Road when Leonardo DiCaprio is leaving the train station at the beginning of the film and Kate Winslet's final scene towards the end.

    I think "Route 12" in the latter film's score is the perfect piece to play when you're bored and frustrated with your life, but see no satisfying way to escape it.
    •  
      CommentAuthorLSH
    • CommentTimeFeb 18th 2011 edited
    Kevin Scarlet wrote
    ...matched only by the lonely piano that plays during Paul Newman's final scene in that film.


    I'm assume you mean the piece Ghosts, from the album? I agree, it's an incredibly effective scene in which the only sound is Newman's haunting score. Utter brilliance.
    • CommentAuthorTimmer
    • CommentTimeFeb 18th 2011
    Why Shawshank didn't pick up a heap load of Oscars ( including score ) is beyond me but also to be expected from the Academy.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  22. I'm pretty much over the Academy at this point when it comes to Newman. His music clearly speaks for itself...though 10 nominations is nothing to sneeze at.
    • CommentAuthorTimmer
    • CommentTimeFeb 18th 2011
    NP : QUANTUM OF SOLACE - David Arnold



    One of arnold's better Bond scores with a few highlight tracks, very enjoyable.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorAnthony
    • CommentTimeFeb 18th 2011
    The weaker ones being...DAD and TWINE?
    • CommentAuthorTimmer
    • CommentTimeFeb 18th 2011
    Anthony wrote
    The weaker ones being...DAD and TWINE?


    Yes but both of those still have their moments though.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  26. I have never wanted to listen to Die Another Day, Casino Royale and Quantum of Solace. I just don't like the direction Arnold went in, especially after showing such promise with Tomorrow Never Dies.
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
  27. ENEMY AT THE GATES - JAMES HORNER

    Not one of his enjoyable ones. The opening track is the highlight, after that there's a sense of boredom that sets in, mainly because Horner's inability to write anything remotely fresh or interesting. The very overused four-note motif is another example of why I can't like this one. I'm thinking of selling it, and coming from a Horner fan like myself, that must sound like a shock.

    Aw shit maybe I'm just not in the mood to listen to it now. sad
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
    • CommentAuthorTimmer
    • CommentTimeFeb 18th 2011
    DreamTheater wrote
    ENEMY AT THE GATES - JAMES HORNER

    Not one of his enjoyable ones. The opening track is the highlight, after that there's a sense of boredom that sets in, mainly because Horner's inability to write anything remotely fresh or interesting. The very overused four-note motif is another example of why I can't like this one. I'm thinking of selling it, and coming from a Horner fan like myself, that must sound like a shock.

    Aw shit maybe I'm just not in the mood to listen to it now. sad


    I understand where you're coming from but personally I do like it, maybe this has something to do with enjoying the film a lot? Have you seen the film? It's worthwhile.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  29. Only once, didn't exactly leave a lasting impression.
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
  30. Timmer wrote
    DreamTheater wrote
    ENEMY AT THE GATES - JAMES HORNER

    Not one of his enjoyable ones. The opening track is the highlight, after that there's a sense of boredom that sets in, mainly because Horner's inability to write anything remotely fresh or interesting. The very overused four-note motif is another example of why I can't like this one. I'm thinking of selling it, and coming from a Horner fan like myself, that must sound like a shock.

    Aw shit maybe I'm just not in the mood to listen to it now. sad


    I understand where you're coming from but personally I do like it, maybe this has something to do with enjoying the film a lot? Have you seen the film? It's worthwhile.


    I love this score. The first track plays like a symphony movement and belongs to highlights of Horner's prolific career.
    http://www.filmmusic.pl - Polish Film Music Review Website

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