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[Closed] Now Playing XLV

General Discussions » Now Playing XLV (Posts 3091 to 3120 of 3132)

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  1. NP: Merlin of course. wink
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorMartijn
    • CommentTimeNov 21st 2013
    Timmer wrote
    and for saving the best till last cool beer


    yeah

    Timmer wrote
    Yeah, I'd have added MERLIN. I'd also add Ron Goodwin's SIR GAWAIN AND THE GREEN KNIGHT and Paul Lewis ARTHUR OF THE BRITONS.


    Double yeah
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorBregt
    • CommentTimeNov 21st 2013
    franz_conrad wrote
    NP: The Debt (Thomas Newman)

    This score seems pretty good. Why didn't anyone like it again?

    I like it a lot! I remember we talked about it in Brussels. I love the last track, excellent stuff!
    Kazoo
    •  
      CommentAuthorSouthall
    • CommentTimeNov 21st 2013
    justin boggan wrote
    "Along Came A Spider" (expanded)
    Goldsmith


    Giving this it's last fair shot listen. I'm picking parts of cues that are good, to make a suite or two if there's enough good material.


    If only someone had already done this...
    http://www.movie-wave.net | http://facebook.com/moviewave
  5. I like to make my own suites, for my own pleasure, that way I don't have to say I don't like this part or I wish such-and-such part had been included.

    Some of my favorite self-made suites so far:

    "Innerspace"
    http://www.youtube.com/watch?v=x89IxBzry9A

    "The Jackal":
    http://www.youtube.com/watch?v=jFTj9rpnwuY

    "The Keeper of the City"
    http://www.youtube.com/watch?v=9oaAKnasoJY

    "Born to Be Wild"
    http://www.youtube.com/watch?v=WWZ6jQewZko
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
  6. Bregt wrote
    franz_conrad wrote
    NP: The Debt (Thomas Newman)

    This score seems pretty good. Why didn't anyone like it again?

    I like it a lot! I remember we talked about it in Brussels. I love the last track, excellent stuff!


    Yes, I remember that chat. Oorval!
    A butterfly thinks therefore I am
    •  
      CommentAuthorStavroula
    • CommentTimeNov 22nd 2013 edited
    NP: Romeo and Juliet ~ Abel Korzeniowski

    With love's light wings did I o'er - perch these
    walls,
    For stony limits cannot hold love out,
    And what love can do, that dares love attempt...
    Whatever you gaze rests on,do not use your vision, but the eyes of your soul...She knows better...
  8. FAR CRY 3: BLOOD DRAGON - Power Glove

    Holy 1980s, Batman! That Blood Dragon theme, especially, but the whole thing is just a real throwback. Does this have something to do with the story behind the game? While that main theme made me smile nostalgically, this really isn't my kind of score.
    •  
      CommentAuthorThor
    • CommentTimeNov 23rd 2013
    christopher wrote
    FAR CRY 3: BLOOD DRAGON - Power Glove

    Holy 1980s, Batman! That Blood Dragon theme, especially, but the whole thing is just a real throwback. Does this have something to do with the story behind the game? While that main theme made me smile nostalgically, this really isn't my kind of score.


    Love that score, especially because of the 80s sound. Never played the game, though, nor do I think I will.
    I am extremely serious.
    •  
      CommentAuthorScribe
    • CommentTimeNov 23rd 2013
    christopher wrote
    FAR CRY 3: BLOOD DRAGON - Power Glove

    Holy 1980s, Batman! That Blood Dragon theme, especially, but the whole thing is just a real throwback. Does this have something to do with the story behind the game? While that main theme made me smile nostalgically, this really isn't my kind of score.


    Yes, the game is basically an interactive 80s-style scifi/fantasy movie. Complete with deliberately terrible plot and cheesy dialogue.
    I love you all. Never change. Well, unless you want to!
  11. That's awesome! I'm sure the score fits it like a glove.
    •  
      CommentAuthorStavroula
    • CommentTimeNov 23rd 2013
    NP: Romeo and Juliet ~ Abel Korzeniowski

    Again! I won't say why, I've already explained! wink
    Whatever you gaze rests on,do not use your vision, but the eyes of your soul...She knows better...
    •  
      CommentAuthorBobdH
    • CommentTimeNov 23rd 2013 edited
    FalkirkBairn wrote
    From listening to the suite there are only one or two points at which (I think) are specific breaks - but I have no idea whether they are actual breaks between "cues" or whether they are just pauses within cues.

    I've really just made personal judgements based on what I hear: is there, say, a resolution of a string phrase with a natural fade, is there a point where there seems to be a pause with the end of a specific musical idea and the beginning of a different musical idea, etc.

    Listening back to the 14 tracks I made, a lot of them begin with variations of what I would call a recurring musical motif (a theme?) - making it seem that it's the beginning of a different treatment/interpretation of this motif. This fits in with something Jon Broxton mentioned about there being the possibility that Desplat wrote very little music for the film - perhaps only a title and end cue. If this is the case and the composer has expanded these ideas out to make a suite based upon variations of this central composition then the splices I have made may reflect these different treatments? I've no idea, but it all sounds plausible.


    Having listened to it now, I'd say there's definitely a sense of several (many, even) smaller tracks being glued together as one big track instead of one recorded symphonic suite. For example, it starts with a main theme (main titles?) until 1:58, a long fade-out, from there on starts the exploration of a second piano-theme derived from this main theme until 4:31, after which a new cue picks up that is a continuation of that same theme (much of the score will be based upon this theme, actually). There's also some careless (ugly) editing, like at 12:59, switching from the piano theme towards a more hasty orchestral segment that disturbs the flow.

    Still, this doesn't take away from the fact that VENUS IN FUR is Alexandre Desplat back again in his playful, more original mood. Enjoying this very much, even though it might be revolving a little too much around the same theme for much of its duration.
  14. I centres on a central theme yes, but I like the way the composer plays about with it.
    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
    • CommentTimeNov 23rd 2013
    Stavroula wrote
    NP: Romeo and Juliet ~ Abel Korzeniowski

    Again! I won't say why, I've already explained! wink


    One of the best scores this year cool
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorAnthony
    • CommentTimeNov 23rd 2013 edited
    NP: Casino Royale - David Arnold

    I hope the next Bond score incorporates the title song more. This is a fantastic example of how to do it properly. Skyfall's one reference was good but not enough.

    On a separate note, I wish I could hear the orchestral version of You Know My Name again which they performed at Concert For Care at the Albert Hall a few years ago. By far the best version of it I've ever heard.

    If I remember correctly Steven was lucky enough to hear it as well.
    • CommentAuthorTimmer
    • CommentTimeNov 24th 2013
    Anthony wrote

    I hope the next Bond score incorporates the title song more. This is a fantastic example of how to do it properly.


    He learnt well from the Guv'nor. A shame he didn't always get the opportunity either, it shows in Arnold's non-Bond theme song scores ( not counting Tomorrow Never Dies where he incorporated Never Serender to great effect )
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  18. The main theme from the new Mario Game (Super Mario 3D World) is one of the catchiest tunes I've heard in a long long time:

    http://www.youtube.com/watch?v=B0M_zZRn-yo
  19. It certainly is happy, and sounds like it belongs in the Mario world, but with as little variation as there was in the piece, I gave up after 3 minutes or so.
  20. Anthony wrote
    NP: Casino Royale - David Arnold

    I hope the next Bond score incorporates the title song more. This is a fantastic example of how to do it properly. Skyfall's one reference was good but not enough.

    On a separate note, I wish I could hear the orchestral version of You Know My Name again which they performed at Concert For Care at the Albert Hall a few years ago. By far the best version of it I've ever heard.

    If I remember correctly Steven was lucky enough to hear it as well.


    I think the reason that theme is used so often in CASINO ROYALE is because of the moratorium on using the Bond theme until the end of the film. They needed another action theme, so...
    SKYFALL on the other hand pulls on the Bond theme quite a bit.
    A butterfly thinks therefore I am
    • CommentAuthorTimmer
    • CommentTimeNov 24th 2013
    A well made point Michael.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorAnthony
    • CommentTimeNov 24th 2013 edited
    I think the next movie really needs to put the Bond theme front and center, at the very least during the big fun opening sequence. I really hope they bring back the soft cymbal hits like in Company Car from Tomorrow Never Dies too. That oozes style.
  23. christopher wrote
    It certainly is happy, and sounds like it belongs in the Mario world, but with as little variation as there was in the piece, I gave up after 3 minutes or so.


    I think whoever made the video just put a little part of it on an endless loop. The theme is a lot shorter than the five minutes in the video (at least it seems like it in the game, but you do get 5 minutes to complete each level so maybe it is uncut and I just don't notice because I'm playing the game) and it is varied a few times throughout the game (it plays during the main titles screen with different instruments and slower tempo).
    •  
      CommentAuthorEric
    • CommentTimeNov 24th 2013
    NP : Piranha II - Stelvio Cipriani

    One of my favourites of composer Stelvio Cipriani and as far as the movie goes , one of my guilty favourite 80's films ... The still inexperienced James Cameron originally was hired as the special effects director on the film , but after the original director left the project , Cameron took over completely ... After three weeks of filming Cameron was fired himself ... "I was fired after three weeks as the producer of the film really wanted to be a director - that's why it starts off with intense scenes and ends up with topless women running around on a yacht". Cameron was not allowed to see his footage and was not involved in editing at all ! Cameron wanted his name taken off the titles , but that never happened ...
    "Simplicity is the key to brilliance"
  25. I don't know ... a film like "Piranha II" sort of makes me think the best part may be the topless woman running around...

    biggrin
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
    • CommentAuthorTimmer
    • CommentTimeNov 25th 2013
    it's a film I've never seen though I would like to see it simply because it's Cameron's early work.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorJosh B
    • CommentTimeNov 25th 2013
    christopher wrote
    It certainly is happy, and sounds like it belongs in the Mario world, but with as little variation as there was in the piece, I gave up after 3 minutes or so.


    It's just looped... a lot. You've heard the whole thing after fifty-five seconds. It's cute but not really top-drawer Mario music.
    •  
      CommentAuthorMartijn
    • CommentTimeNov 25th 2013
    NP: Romeo and Juliet - Nino Rota

    This is in my opinion the very best of any musical approach of Shakespeare's tragedy.

    It is filled to the brim with drama and searing heartache, and delivers continuously on emotional zeniths...exactly like a young, first love!

    Think back: first love is the one where everything was new. Everything was experienced for the first time.
    The approach. The unrequited looks from afar. The first touch.
    The first kiss was like the world set ablaze! Nothing existed that could match this incontrollable whirlwind of feeling! Frightening, exhilarating, maddening...the one thing that was assured that nothing like this ever existed. Or could exist again.
    And you, and your loved one, were the only people on the planet, nay, in the history of the Universe to ever experience this!

    And the break-up: the sky fell, birds stopped singing, at break of dawn there was no sunrise. It was, quite literally, the end of everything. If one thing was sure, it was that you would never, ever able to live again, to love again.

    A harkening back to those incredibly magnified emotions is exactly what I see when I watch or read Romeo and Juliet.
    It's exactly what I want to hear in a musical interpretation.

    And with all due respect to Armstrong and Korzeniowski (and Prokoviev and Tchaikovsky), but Rota was the only one who really got it.
    It is absolutely right.
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorSteven
    • CommentTimeNov 25th 2013
    Oh my. Are... are you okay?
    • CommentAuthorTimmer
    • CommentTimeNov 25th 2013
    If you know what he's talking about, YES, he is okay, he's very okay.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt

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