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  1. I'm not blaming them either. It is all about money, and I sometimes question a composer's endorsement of their own music when they deliver a "poor" score for a successful film. They are all part of the publicity bandwagon.

    I'm sure that Goldsmith knew he was scoring poor films but he still managed to produce high quality material on a consistent basis.

    This is an open question that I don't know the answer to...when we talk about a "Murphy sound" is the sound so simple and fundamental that it's not too difficult to produce - it just takes some composer to hit upon it for it to be associated with him? And if another composer goes anywhere near this fundamental sound he's labeled as stealing another composer's "sound"?
    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
    • CommentTimeFeb 20th 2011
    I am talking specific sounds that have left their label and mark onto the modern film music making process and which leads to certain trends which some directors push onto other composers in order to help them easily extract a specific style out of their films.

    Some examples:

    The gladiator sound
    the Lost sound
    the blackhawk down sound
    John Murphy's style
    Of course John Williams / Goldsmith orchestral adventure sound
    Delerue's sweeping romantic side
    the thin red line

    etc etc

    I never said it was an easy style to copy or anything. It's never easy to write in a certain composer's style and do it well, especially when you don't really want to, when it's forced on you. But some cases in some scores are very evident such cases. I don't have a problem with it anymore as i've stopped analysing everything new i listen to for self / or extra - influences 'cause it sucks all the fun away. The way the business is is this and we have to accept it.
    Love Maintitles. It's full of Wanders.
    • CommentAuthorMatt C
    • CommentTimeMar 26th 2011 edited
    I watched some of Diary of a Wimpy Kid: Rodrick Rules, which wasn't mentioned at all in the last page. Shearmur's score is charming, but like Shapiro's score for the first film, it's all bitty and Mickey-mousing.

    And it was nice to see Shearmur use Shapiro's main theme in the sequel, mainly in its piano version but also a neat electric guitar arrangement.
    http://unsungfilmscores.blogspot.com/ -- My film/TV/game score review blog
  2. a composer I miss sorely today, see my reviews to understand why:

    - The Count of Monte Cristo
    - The Governess
    - Johnny English
    - K-Pax
    - Laws of Attraction
    - Mother and Child
    - Reign of Fire
    - The Skeleton Key
    - Sky Captain and the World of Tomorrow
    - The Wings of the Dove

    Have a good weekend
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
  3. A short clip from the "Cruel Intentions" pilot which didn't air and didn't get picked up for a series. There's some of the score in it:


    (looks like a picture from her time during "Buffy the Vampire Slayer")
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.