[Closed] Now Playing - Part XXIII

That I didn't care for the film or that I like the score?


NP : L'ENFANT DES LOUPS - Serge Franklin

That you didn't like the film. The dialogue, the script, the music, the characters... it's all s'damn cool!

I do like that ending cue though, 'The Greatest Tragedy'.

for the second time in a week
Nice main theme, appearing through all the score and with its full develpement in "The Greatest Tragedy". And the guitar part, providing this feeling of loneliness, like being in a dream ("Graveside", "Pool Trip", "Brandon Meets Josh",...).
Horton, Stop Loss, PS I Love You,....did somebody say Powell had to do something new? Hah!

I´m amazed with Powell....I don´t know in which order they were written and recorded, but three different scores one after the other in such a small amount of time, and two of them being as good as Horton and Stop Loss (wait ´til april for PS I Love You) is something unique.
Ok, the truth be told, "Jumper" is also there, but I said weeks ago that it was an accident in Powell´s career

Haha....that´s the point!

Is Angels in America a repetition of things, a repetition of any kind? And what's the matter now, Michael?

He's discovered he can't beat me at Guess the Score... again!

Not at all. But it sounds like you would've liked THE GOOD GERMAN and LITTLE CHILDREN a lot more if only they'd been more like ANGELS IN AMERICA.

But they are brilliant executions of their respective briefs. LC finds a modern suburban baroque sound that doesn't echo AMERICAN BEAUTY or IN THE BEDROOM, an achievement alone that's pretty extraordinary. GOOD GERMAN does Max Steiner-style scoring with a strong awareness of period European music and old-school contrapuntal writing, yet still is unmistakably Thomas Newman. They are more challenging works than ANGELS, because their melodic delights are scanter and considerably darker in feel. Both are more about texture than melody. But I don't see how either score could have been better for their films, or better written as music. Come up with a fair critique on either basis and I might buy it, but just saying ANGELS IN AMERICA is better is a lazy comparison. It's saying you want more of THAT, rather than more of what Thomas Newman can do in new territory.

As for ANGELS, beyond its title theme and some of the incidental tracks, it doesn't repeat much from Newman's earlier work. It is one of the highpoints of his work in film, but I wouldn't hesitate to put GG and LC up there too.

Yeah, obviously somebody bit him as his attack caught me totally surprised and was uncalled for i would say? I didn't force my opinion on anyone and i thought we are all here to debate and not happily-ho agreeing with one another all the time on everything as it's virtually impossible and unnatural? I didn't ask Michael or Steven or anyone else for the matter of fact to agree with me and if anyone else feels the contrary, please let me know via p.m 'cause unlike some, i don't feel like flashing my personal issues on public forums. If Michael or Steven or anyone else has issues against me, please, i'd love to hear about it via p.m.

n.p. JOHN POWELL - Stop Loss

A strong and - in parts, emotional score indeed. It's not what you hear everyday and admittedly not of everyone's tastes, plus it needs a bit to warm on the listener but it's quite a worth-wile work on behalf of Powell for sure. More on it soon.

Goodness, don't take it personally. I'm talking about Thomas Newman's music, not you!

That whole thing about destroying notions of beauty is a joke, btw. (I would have thought the Sistine Chapel thing would have been a giveaway.)

Indeed. I never thought by listening to UNITED 93 alone that that style of sounds and sound design such as the track 'tapes' from that score (or was it another sentence with the word 'tapes' innit? i don't recall exactly, anyway i am sure you get it ) could be shifted into something totally different, rawer and slightly more light-spirited like track 3 from STOP-LOSS. That's pure musicianship over there and total knowledge of his material on behalf of Powell. Stop Loss isn't flashy at all but it's certainly very genuine (the cross of guitar overdrives and that modern american rock a la Bear McCreary's "Stop Loss" and "wrong turn 2" i talked about in the previous thread) and also very clever. It surprised me, for one.

Well you know it. And now we are talking about you.

What I said was: "I say to to hell with this obsession with set notions of beauty. Who's with me?"

Now if I read Southall saying that, or Timmer, or Martijn, or anyone, I wouldn't take that seriously. I would take it as self-conscious rhetoric, and I wouldn't need a wink, or Martijn's bright colours, to see it for what it is. There was a time here when I appended every such statement with a wink (ever since someone was offended back at scorereviews.com by my thread about 'killing off composers whose talents weren't being utilised' ), but then I was criticised for being patronising by doing so. What does it take to not be taken seriously?

I apologise for any offense. Can we get back to talking about Thomas Newman? (EDIT - Or a topic of your choice?)

Your words landed deeper than you realised! Every now for me is a conscious decision: 'what would Steven think?'

Boobies.