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[Closed] Now Playing XLVIII

General Discussions » Now Playing XLVIII (Posts 3391 to 3420 of 3470)

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    •  
      CommentAuthorSouthall
    • CommentTimeJan 21st 2016
    Something Wicked This Way Comes - James Horner

    Creative.
    http://www.movie-wave.net | http://facebook.com/moviewave
  2. Southall wrote
    Something Wicked This Way Comes - James Horner

    Creative.


    Did you become muslim in my absence? :P
    •  
      CommentAuthorSouthall
    • CommentTimeJan 23rd 2016
  4. NP: The 5th Wave (Henry Jackman)

    As Billie Mack (character of Love Actually would put it): Oh, Jesus, not that crap again!
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
  5. Thomas Glorieux wrote
    NP: The 5th Wave (Henry Jackman)

    As Billie Mack (character of Love Actually would put it): Oh, Jesus, not that crap again!


    really??? well, the movie looks like crap also. I guess Henry was more focused in the other 1000 projects he has.
    Anyway, With Cloe in that cover, you don't need more excuses to hear at least once this album. smile
  6. I saw a press screening of the film (meh) and, yep, score is terrible. slant
  7. Hans Zimmer - Beyond Rangoon

    This one just really fits the place I am in, emotionally and mentally, recently so well.
    http://www.filmmusic.pl - Polish Film Music Review Website
  8. NP: The Shadow (1994) - Jerry Goldsmith

    I didn't listen to this score in a long while. The often lamented electronics don't bother me at all. Vintage Goldsmith.

    Volker
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorErik Woods
    • CommentTimeJan 24th 2016
    ^ Brilliant score! it still blows me away that the original version of "The Mirrors" was rejected!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorErik Woods
    • CommentTimeJan 24th 2016 edited
    NP: Sneakers - James Horner

    Aaaaaaaah! Perfection!

    NOTE - I'm not a big fan of the four note danger motif but Horner disguises it soooooooo well in this score! Outstanding!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorMartijn
    • CommentTimeJan 24th 2016
    Erik Woods wrote
    ^ Brilliant score! it still blows me away that the original version of "The Mirrors" was rejected!

    -Erik-


    Agreed! I've never been bothered much by Goldsmith's electronics (except for the "cats" in Gremlins which I *hate* ), and it works like a charm in The Shadow. Bloody fantastic soundtrack!
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorErik Woods
    • CommentTimeJan 24th 2016
    Martijn wrote
    Agreed! I've never been bothered much by Goldsmith's electronics (except for the "cats" in Gremlins which I *hate* ), and it works like a charm in The Shadow. Bloody fantastic soundtrack!


    shocked

    You DON'T like the cats in Gremlins?!?! I think that's the most ingenious aspects of Goldsmith's score.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorMartijn
    • CommentTimeJan 24th 2016
    Loved it as a 'musical sound effect' when I was 14, absolutely hate it now. It grates and completely destroys any enjoyment I might have in the Mrs. Deagle track. It's just too much. WAY too much.
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
  14. Erik Woods wrote
    Martijn wrote
    Agreed! I've never been bothered much by Goldsmith's electronics (except for the "cats" in Gremlins which I *hate* ), and it works like a charm in The Shadow. Bloody fantastic soundtrack!


    shocked

    You DON'T like the cats in Gremlins?!?! I think that's the most ingenious aspects of Goldsmith's score.

    -Erik-


    Exactly ! That sound effect --> cool
    "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.
    •  
      CommentAuthorSteven
    • CommentTimeJan 24th 2016 edited
    Erik Woods wrote
    Martijn wrote
    Agreed! I've never been bothered much by Goldsmith's electronics (except for the "cats" in Gremlins which I *hate* ), and it works like a charm in The Shadow. Bloody fantastic soundtrack!


    shocked

    You DON'T like the cats in Gremlins?!?! I think that's the most ingenious aspects of Goldsmith's score.

    -Erik-


    I love it, though it's not exactly taxing on the imagination to see why others might not. But I love Goldsmith's synth (and weirdness) in general. Even the literal synth farts in Timeline.
  16. It's all part of his musical vocabulary, the way I see it.

    Wouldn't want it any other way. The only thing that to this day I have a problem with are the synth elements in Legend, which do somewhat destroy my enjoyment of that one.
    "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.
    •  
      CommentAuthorSteven
    • CommentTimeJan 24th 2016
    Nope, love 'em in that too. I'm hard pressed to think of an example where I didn't like his synth? Any challenges?
    •  
      CommentAuthorSouthall
    • CommentTimeJan 24th 2016
    The Supergirl whoosh is a bit much for me.
    http://www.movie-wave.net | http://facebook.com/moviewave
    •  
      CommentAuthorSouthall
    • CommentTimeJan 24th 2016
    Thor will be along soon to issue his periodic reminder that Jerry Goldsmith is the all-time-worst film composer when it comes to using electronics.
    http://www.movie-wave.net | http://facebook.com/moviewave
    •  
      CommentAuthorSteven
    • CommentTimeJan 24th 2016
    Southall wrote
    The Supergirl whoosh is a bit much for me.


    Ah. Yes, I spoke too soon. Good [bad] example.
    •  
      CommentAuthorThor
    • CommentTimeJan 24th 2016
    Southall wrote
    Thor will be along soon to issue his periodic reminder that Jerry Goldsmith is the all-time-worst film composer when it comes to using electronics.


    Absolutely. I wish the ol' man never lied his eyes on a synth in the first place. Absolutely dreadful, whatever he did.
    I am extremely serious.
  22. I certainly have my issues with some of the synths he used in some scores in the 80's but his use of them in the 90's was so integrated into the orchestra and used to supplement what the orchestra could achieve that it became an important part of his musical vocabulary. I personally think by the end of his career, 'Star Trek: Nemesis' and 'Timeline', his integration of orchestra and electronics he become absolutely masterful.
    • CommentAuthorTimmer
    • CommentTimeJan 25th 2016
    Steven wrote
    Southall wrote
    The Supergirl whoosh is a bit much for me.


    Ah. Yes, I spoke too soon. Good [bad] example.


    Nah! I love that Supergirl whoosh.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorErik Woods
    • CommentTimeJan 25th 2016
    yeah
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  25. Thor wrote
    Southall wrote
    Thor will be along soon to issue his periodic reminder that Jerry Goldsmith is the all-time-worst film composer when it comes to using electronics.


    Absolutely. I wish the ol' man never lied his eyes on a synth in the first place. Absolutely dreadful, whatever he did.

    Seriously? Seriously?

    I think the electronics in, say, Total Recall are pretty damn perfect - both the mystical/ethereal stuff and the more driving, pulsating rhythms that propel the action music. Hard to see what to complain about there (unless it's to say it sounds "dated" - and even then, for a score that was written around when the Wall came down, it holds up remarkably well I think).

    You're fine with Silvestri's electronics in the 80s but not Goldsmith? Boggles the mind. dizzy
  26. I think Thor should give Link a good listen, or better yet... Alien Nation. biggrin
    "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.
    •  
      CommentAuthorThor
    • CommentTimeJan 25th 2016 edited
    Edmund Meinerts wrote
    Thor wrote
    Southall wrote
    Thor will be along soon to issue his periodic reminder that Jerry Goldsmith is the all-time-worst film composer when it comes to using electronics.


    Absolutely. I wish the ol' man never lied his eyes on a synth in the first place. Absolutely dreadful, whatever he did.

    Seriously? Seriously?

    I think the electronics in, say, Total Recall are pretty damn perfect - both the mystical/ethereal stuff and the more driving, pulsating rhythms that propel the action music. Hard to see what to complain about there (unless it's to say it sounds "dated" - and even then, for a score that was written around when the Wall came down, it holds up remarkably well I think).

    You're fine with Silvestri's electronics in the 80s but not Goldsmith? Boggles the mind. dizzy


    Absolutely. There's not even a competition. Silvestri knows his way around synths, and could easily have been a synthpop producer like Moroder, Faltermeyer, Hammer etc. if he had wanted to (perhaps due to his background in rock and drums). Also, he has always been able to weave it organically into acoustic landscapes in later years.

    I like the fact that Goldsmith was curious about exploring new instruments and soundscapes, but I wish he'd channeled that into his unqiue and stunning grasp of acoustic sounds. THAT's where he strenght lied.

    If someone put a gun to my head and forced me to mention a Goldsmith score where electronics worked a bit organically, I would probably pick an older score (like SECONDS, if memory serves). But 99% of what he did after 1980 was pants in that department. Among the 1% I kinda like is GREMLINS, but only things like the backbeat in the "Rag", not the silly cat meows and stuff.

    (I dig TOTAL RECALL, btw, but not because of the synths).
    I am extremely serious.
  28. In Gremlins, when Stripe gets his come-uppance, I've always loved the end of that cue (its name escapes me), where Goldsmith uses that cat synth effect in its most chilling variation, immediately followed by the strings section immitating that same effect. Shows Jerry's genius, right there.

    And electronics-wise I think he did an even better job for the sequel.
    "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.
  29. NP: Jane Got a Gun (Lisa Gerrard and Marcello De Francisci)

    Rather irritating experience sad
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
  30. THE HATEFUL EIGHT

    First listen was quite a bit 'meh'.
    The second one right now is more positive. But I HAVE to program out the dialogue and songs. It works a lot better as a Morricone only album. It's very moody, not at all like his westerns of the 60s. I'm sure this fits the film like a glove. If recurring motifs and brooding ambience is your thing, this could be for you. Because at this very moment, it is for me.
    "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.

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