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  1. Christodoulides wrote
    That's a bit far-stretched mate; at least HGW has created a very identifiable and HGW-specific sound; plus he's given us a couple of great modern epic scores, like KINGDOM OF HEAVEN and PRINCE OF PERSIA. He's brother kinda moves in his shadow...he's shown some good elements here and there, but he doesn't really have an identity.


    perhaps, but then we haven't had the pleasure to really identity the sound of Rupert, considering he isn't all that well represented on soundtrack. But I always return by saying that Rupert is a good composer because his pride and jewel is still unreleased (which is Jack and the Beanstalk)

    just listen to this: Jack and the Beanstalk
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
    • CommentAuthorTimmer
    • CommentTimeJun 5th 2010
    Yeah, it's a very nice piece, I liked it.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorlp
    • CommentTimeJun 5th 2010 edited
    Thomas Glorieux wrote
    Christodoulides wrote
    That's a bit far-stretched mate; at least HGW has created a very identifiable and HGW-specific sound; plus he's given us a couple of great modern epic scores, like KINGDOM OF HEAVEN and PRINCE OF PERSIA. He's brother kinda moves in his shadow...he's shown some good elements here and there, but he doesn't really have an identity.


    perhaps, but then we haven't had the pleasure to really identity the sound of Rupert, considering he isn't all that well represented on soundtrack. But I always return by saying that Rupert is a good composer because his pride and jewel is still unreleased (which is Jack and the Beanstalk)

    just listen to this: Jack and the Beanstalk


    So are you saying, that, because Rupert's one pride and jewel is good, and that most of his comedy scores are still unreleased, that Rupert is a good composer, and is better than his brother?

    One day I might be drunk enough to understand that logic. beer
    •  
      CommentAuthorDemetris
    • CommentTimeJun 6th 2010
    biggrin
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthordgoldwas
    • CommentTimeJul 5th 2010
    A few months ago, composer Rupert Gregson-Williams recorded his score for the new comedy, Grown Ups. Directed by Dennis Dugan and starring Adam Sandler, Chris Rock, Kevin James, David Spade and Rob Schneider, the score was recorded with a 55-piece orchestra at Fox's Newman Scoring Stage. ScoringSessions.com is excited to bring our readers the exclusive photos from the session!

    http://www.scoringsessions.com

    Enjoy!
    I consider a project a success when Thor says he won't buy it
  2. My review of the POSTMAN PAT: THE MOVIE, for anyone who is interested:

    http://moviemusicuk.us/2014/09/09/postm … -williams/

    Jon
  3. lp wrote
    Thomas Glorieux wrote
    Christodoulides wrote
    That's a bit far-stretched mate; at least HGW has created a very identifiable and HGW-specific sound; plus he's given us a couple of great modern epic scores, like KINGDOM OF HEAVEN and PRINCE OF PERSIA. He's brother kinda moves in his shadow...he's shown some good elements here and there, but he doesn't really have an identity.


    perhaps, but then we haven't had the pleasure to really identity the sound of Rupert, considering he isn't all that well represented on soundtrack. But I always return by saying that Rupert is a good composer because his pride and jewel is still unreleased (which is Jack and the Beanstalk)

    just listen to this: Jack and the Beanstalk


    So are you saying, that, because Rupert's one pride and jewel is good, and that most of his comedy scores are still unreleased, that Rupert is a good composer, and is better than his brother?

    One day I might be drunk enough to understand that logic. beer


    finally gonna answer this tongue

    No, I'm not saying that. But what I heard wasn't bad (for instance Click has some nice emotional music, same for moments in Bedtime Stories). And if I'm not mistaken, today we make that assumption about many composers now. One good work and he's a good composer wink
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
    •  
      CommentAuthorDemetris
    • CommentTimeSep 11th 2014
    I think he hasn't showed the word anything significant yet.
    Love Maintitles. It's full of Wanders.
  4. I think Postman Pat is a lovely little score. A review is in the works.
    www.synchrotones.wordpress.com | www.synchrotones.co.uk | @Synchrotones | facebook | soundcloud | youtube
    •  
      CommentAuthorlp
    • CommentTimeSep 11th 2014
    Thomas Glorieux wrote
    lp wrote
    Thomas Glorieux wrote
    Christodoulides wrote
    That's a bit far-stretched mate; at least HGW has created a very identifiable and HGW-specific sound; plus he's given us a couple of great modern epic scores, like KINGDOM OF HEAVEN and PRINCE OF PERSIA. He's brother kinda moves in his shadow...he's shown some good elements here and there, but he doesn't really have an identity.


    perhaps, but then we haven't had the pleasure to really identity the sound of Rupert, considering he isn't all that well represented on soundtrack. But I always return by saying that Rupert is a good composer because his pride and jewel is still unreleased (which is Jack and the Beanstalk)

    just listen to this: Jack and the Beanstalk


    So are you saying, that, because Rupert's one pride and jewel is good, and that most of his comedy scores are still unreleased, that Rupert is a good composer, and is better than his brother?

    One day I might be drunk enough to understand that logic. beer


    finally gonna answer this tongue

    No, I'm not saying that. But what I heard wasn't bad (for instance Click has some nice emotional music, same for moments in Bedtime Stories). And if I'm not mistaken, today we make that assumption about many composers now. One good work and he's a good composer wink


    FWIW, I don't think he's a "bad" composer. I do think that he had some good (primarily orchestral, too) scores in him, and is currently highly under-utilized. A majority of A Winter's Tale was by Rupert and it wasn't bad.
  5. My two cents on Postman Pat.
    www.synchrotones.wordpress.com | www.synchrotones.co.uk | @Synchrotones | facebook | soundcloud | youtube
  6. My review of HACKSAW RIDGE, for anyone who's interested:

    https://moviemusicuk.us/2016/11/01/hack … -williams/

    Jon
  7. It's certainly possible I'm over-reacting but right now I'm thinking...best war movie...possibly best Remote Control-produced war movie score of all time...I just saw ir in the cinema last night and I was totally blown away by both movie and score. Rupert has really re-invented himself this year and it seems like Mel Gibson has too.
    •  
      CommentAuthorThor
    • CommentTimeNov 4th 2016 edited
    Morgan Joylighter wrote
    It's certainly possible I'm over-reacting but right now I'm thinking...best war movie...possibly best Remote Control-produced war movie score of all time...I just saw ir in the cinema last night and I was totally blown away by both movie and score. Rupert has really re-invented himself this year and it seems like Mel Gibson has too.


    Well, I've always loved Gibson -- both as director and actor. I've liked all four of his directed movies, and have high hopes for this, his fifth. Especially after my colleagues lauded it after its Venice screening.

    As for the score, I've had a listen and it didn't really engage me. But I might have to give it a few more chances.
    I am extremely serious.
    •  
      CommentAuthorSteven
    • CommentTimeNov 4th 2016
    I've very little room left to care about another WW2 film, no matter how well or by which talented-yet-nutty Christian it's made by. The press interviews are cringe-inducing. (Though it was amusing to see Andrew Garfield squirm when asked if he was religious.)
    • CommentAuthorTimmer
    • CommentTimeNov 4th 2016
    I have plenty of hunger for more WW2 movies, TV series etc. I want to see this film though I find it hard to "like" Gibson the man.

    Can you link me to the Garfield interview?
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorSteven
    • CommentTimeNov 4th 2016 edited
    Timmer wrote

    Can you link me to the Garfield interview?


    https://www.youtube.com/watch?v=AdfbeDMyILQ&t

    2:33
    • CommentAuthorTimmer
    • CommentTimeNov 4th 2016
    He was certainly "wriggly" wink
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorSteven
    • CommentTimeNov 4th 2016
    I love watching actors bullshit on these press-type things. Gibson is a fascinating one to watch these days... he looks so uncomfortable. As though he's on trial. biggrin
    •  
      CommentAuthorThor
    • CommentTimeNov 4th 2016
    Steven wrote
    I love watching actors bullshit on these press-type things. Gibson is a fascinating one to watch these days... he looks so uncomfortable. As though he's on trial. biggrin


    Yeah, same on Stephen Colbert. But I don't care; I dig him nonetheless.

    It should be an interesting period for WW2 buffs in the coming months, with this film, Zemeckis' ALLIED and Nolan's DUNKIRK.
    I am extremely serious.
    • CommentAuthorTimmer
    • CommentTimeNov 5th 2016
    Steven wrote
    Gibson is a fascinating one to watch these days... he looks so uncomfortable. As though he's on trial.


    He looks paranoid.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  8. He's a religious fanatic. Of course he looks paranoid. slant
    Bach's music is vibrant and inspired.
  9. Morgan Joylighter wrote
    It's certainly possible I'm over-reacting but right now I'm thinking...best war movie...possibly best Remote Control-produced war movie score of all time...I just saw ir in the cinema last night and I was totally blown away by both movie and score. Rupert has really re-invented himself this year and it seems like Mel Gibson has too.

    I assume you're exempting The Thin Red Line from that category by using the "Remote Control-produced" loophole because otherwise, prepare to face Pawel's wrath in the form of an impenetrable wall of text.
    •  
      CommentAuthorSouthall
    • CommentTimeNov 6th 2016
    What is in scope when it comes to "Remote Control-produced war movie score"? I need a list then I can offer my valuable* opinion.

    *Perhaps
  10. Edmund Meinerts wrote
    Morgan Joylighter wrote
    It's certainly possible I'm over-reacting but right now I'm thinking...best war movie...possibly best Remote Control-produced war movie score of all time...I just saw ir in the cinema last night and I was totally blown away by both movie and score. Rupert has really re-invented himself this year and it seems like Mel Gibson has too.

    I assume you're exempting The Thin Red Line from that category by using the "Remote Control-produced" loophole because otherwise, prepare to face Pawel's wrath in the form of an impenetrable wall of text.


    That was a Media Ventures score and more, a Hans Zimmer score at a time when he still worked quite a lot on his scores. What makes the distinction relevant here? The additional composers on the score actually didn't make the cut to Remote Control Productions and left quite a while (or just a while) before the change.
    http://www.filmmusic.pl - Polish Film Music Review Website
  11. Edmund Meinerts wrote
    Morgan Joylighter wrote
    It's certainly possible I'm over-reacting but right now I'm thinking...best war movie...possibly best Remote Control-produced war movie score of all time...I just saw ir in the cinema last night and I was totally blown away by both movie and score. Rupert has really re-invented himself this year and it seems like Mel Gibson has too.

    I assume you're exempting The Thin Red Line from that category by using the "Remote Control-produced" loophole because otherwise, prepare to face Pawel's wrath in the form of an impenetrable wall of text.


    Well there's definitely a clear delineation in style that occurred between around 2002 to 2005, culminating with Batman Begins which I would call the first that is 100% of the newer style. Whether that difference extends to quality I won't presume to have a worthwhile opinion...I'll just say I love both Zimmer eras.

    In any event, before this year there was nothing in Rupert's repertoire to suggest he could write at the level of Legend of Tarzan and Hacksaw Ridge. Well, there's Jack & The Beanstalk but that one is extremely obscure and has no official release, not to mention it's over a decade old.
  12. "Write at the level of?" Honestly I'm more impressed with the writing, at a technical/complexity level, of a score like Bedtime Stories or Bee Movie than I am with anything in his scores this year. Not that they're bad scores, but they are a bit more simplistic in comparison I'd say.
  13. My review of WONDER WOMAN, for anyone who's interested:

    https://moviemusicuk.us/2017/06/09/wond … -williams/

    Jon
    •  
      CommentAuthorSouthall
    • CommentTimeJun 10th 2017
    •  
      CommentAuthorCaliburn
    • CommentTimeJun 13th 2017
    Sigh.. no review from me, movie is still not out yet here.. :-/