register

  • Categories

Vanilla 1.1.4 is a product of Lussumo. More Information: Documentation, Community Support.

 

[Closed] Now Playing XLVI

General Discussions » Now Playing XLVI (Posts 1321 to 1350 of 6016)

  1. <
  2. 1
  3. ...
  4. 41
  5. 42
  6. 43
  7. 44
  8. 45
  9. 46
  10. 47
  11. 48
  12. ...
  13. 201
  14. >
    •  
      CommentAuthorErik Woods
    • CommentTimeFeb 9th 2014 edited
    Thor wrote
    Erik Woods wrote
    Thor wrote
    I didn't care much for SUPERMAN RETURNS, but I loved Ottman's major-mode rendition of "Can You Read My Mind", by far the best thing about that score.


    Now I think you are just doing this to bait people. Seriously.

    -Erik-


    What? You don't agree? I didn't realize that was such a controversial proposition.


    That was one of the worst ideas in the long, sad history of bad ideas.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorThor
    • CommentTimeFeb 9th 2014
    Wow. Seems like we're on opposite sides of that issue. I found it to be a great idea in an otherwise rather lacklustre effort.
    I am extremely serious.
    •  
      CommentAuthorErik Woods
    • CommentTimeFeb 9th 2014
    I wish I could find Doug Adams' brilliant FSM Podcast concerning this issue. He summed it up perfect as to why Ottman's approach was ill conceived and made zero sense.

    If I can remember, Williams' chord progression of the love theme is from his jazz background while Ottman completely dumbs it down to a basic 1-5-4 chord progression.... or something of that manner.

    And if he's going to change the chords in the score proper why didn't he change it in the opening and end titles. Ottman takes Williams subtitle progression and turns in on it's head with something completely, and utterly uninspired, bland and jarring.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorThor
    • CommentTimeFeb 9th 2014 edited
    However the chord progression, I thought it worked wonders. It was a nod to the original while arranging it in a fresh, new manner with surprise twists. Beautiful. But I do agree with you that it would have been fun if he had done it with the opening and end titles too.
    I am extremely serious.
    •  
      CommentAuthorDemetris
    • CommentTimeFeb 9th 2014
    ARNAU BATALLER - ermessenda

    Back from 2011. Another proof on the great dynamics the Spain area has been steadily building through the last 5 years. Most of the truly interesting output in film music each year comes from that area, and year by year, the percentage against the rest of the world is growing. Stunning composers reside in the wider Spanish area from what it seems and they also take film music very seriously. It shows. This score here, is on the sadder, slower side of things, but has the trademarked Arnau approach for lyrical orchestral and choral, theme-based passages and the general symphonic nature.
    Love Maintitles. It's full of Wanders.
  6. yeah (Thor)

    I think Ottman's dealing with Williams' material is actually quite nice. His own material does not reach the same level of symphonic complexity. You might compare that stuff with Goldsmith's Supergirl or Conti's Masters of the Universe.

    NP: Indiana Jones and the Kingdom of the Chrystal Skull (2008) - John Williams

    I like this score and I clearly place it before "Temple", so my ranking is:

    1. The Last Crusade
    2. Raiders of the Lost Ark
    3. Kingdom of the Crystal Skull
    4. Temple of Doom

    Volker
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorSteven
    • CommentTimeFeb 9th 2014
    I think you guys are going to give Erik an aneurysm.
    •  
      CommentAuthorSteven
    • CommentTimeFeb 9th 2014
    Demetris wrote
    ARNAU BATALLER - ermessenda

    Back from 2011. Another proof on the great dynamics the Spain area has been steadily building through the last 5 years. Most of the truly interesting output in film music each year comes from that area, and year by year, the percentage against the rest of the world is growing. Stunning composers reside in the wider Spanish area from what it seems and they also take film music very seriously. It shows. This score here, is on the sadder, slower side of things, but has the trademarked Arnau approach for lyrical orchestral and choral, theme-based passages and the general symphonic nature.


    This will please a certain person I know. wink
    •  
      CommentAuthorSteven
    • CommentTimeFeb 9th 2014 edited
    Assassin's Creed Freedom Cry Olivier Derivière

    I want the full album! I WANT!

    ...anyone know if/when there will be on?

    edit: I've just seen on his facebook page that there will be. Good!
    •  
      CommentAuthorDemetris
    • CommentTimeFeb 9th 2014
    Steven wrote
    Assassin's Creed Freedom Cry Olivier Derivière

    I want the full album! I WANT!

    ...anyone know if/when there will be on?

    edit: I've just seen on his facebook page that there will be. Good!


    This score is awesome!
    Love Maintitles. It's full of Wanders.
  11. confused What's wrong with Temple, Volker?
    •  
      CommentAuthorThor
    • CommentTimeFeb 9th 2014
    NP: NUIT BLANCE (Nicolas Errera)

    Very intriguing score; here's a guy who actually knows his way around beat-based electronica while adding some interesting, more acoustic textures, Martinez-style.
    I am extremely serious.
  13. Edmund Meinerts wrote
    confused What's wrong with Temple, Volker?


    Nothing's wrong with "Temple". One has to be in the last place, right? On a very high level of course.
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorErik Woods
    • CommentTimeFeb 9th 2014 edited
    That "one" is Crystal Skull! Man, that score doesn't even come close to being in the same league as the original three scores.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  15. Yes, it does.
    Bach's music is vibrant and inspired.
  16. No, it doesn't.

    Scintillating debate, this, what?
  17. Yes, it does.
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorErik Woods
    • CommentTimeFeb 9th 2014
    face-palm-mt
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  19. yeah
  20. devil
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorDemetris
    • CommentTimeFeb 9th 2014
    fact
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorSteven
    • CommentTimeFeb 9th 2014
    Avatar James Horner

    My own edit from the original album and the unnecessarily-long-but-ultimately-useful 3 disc complete score. Nothing that has come out since this score has topped it. (For me, I should add.)
    •  
      CommentAuthorDemetris
    • CommentTimeFeb 10th 2014
    Steven wrote
    Avatar James Horner

    My own edit from the original album and the unnecessarily-long-but-ultimately-useful 3 disc complete score. Nothing that has come out since this score has topped it. (For me, I should add.)


    It's a great Horner score for sure and as a modern film score more generally.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorThor
    • CommentTimeFeb 10th 2014
    Steven wrote
    Avatar James Horner

    My own edit from the original album and the unnecessarily-long-but-ultimately-useful 3 disc complete score. Nothing that has come out since this score has topped it. (For me, I should add.)


    I'm inclined to agree, scary as that may sound. The original release is more than enough for me, though.
    I am extremely serious.
  25. Any release of a score that fails to neglect a cue like "Quaritch Down" is resolutely not "more than enough."
    •  
      CommentAuthorThor
    • CommentTimeFeb 10th 2014
    Edmund Meinerts wrote
    Any release of a score that fails to neglect a cue like "Quaritch Down" is resolutely not "more than enough."


    I have no idea what is, but I presume it's the final battle between Jake and Quaritch. I also presume it's a straight-out action cue, which I have no need for (plus there's plenty of it on the original album already).
    I am extremely serious.
    • CommentAuthorJosh B
    • CommentTimeFeb 10th 2014
    I have no idea what is, but I presume it's the final battle between Jake and Quaritch. I also presume it's a straight-out action cue, which I have no need for (plus there's plenty of it on the original album already).


    It's the cue just before the final battle, when Jake takes down Quaritch's ship and he goes down. And it's kick-ass.
  28. yeah

    It's a big brassy action cue that's quite unlike the action music from the regular album, and it hearkens back stylistically to The Rocketeer. Easily among the three or four best cues of that score.
    •  
      CommentAuthorThor
    • CommentTimeFeb 10th 2014
    Meh. Give me more of the floating, ethereal stuff.
    I am extremely serious.
  30. Give me all the stuff! cool

1321 to 1350 of 6016

  1. <
  2. 1
  3. ...
  4. 41
  5. 42
  6. 43
  7. 44
  8. 45
  9. 46
  10. 47
  11. 48
  12. ...
  13. 201
  14. >