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UPCOMING FILM SCORES

General Discussions » UPCOMING FILM SCORES (Posts 1981 to 2010 of 2321)

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    •  
      CommentAuthorSouthall
    • CommentTimeDec 5th 2014
    Absolutely. Arnold did some really good work. (And I love Hamlisch's Bond score too! And George Martin's.)
    http://www.movie-wave.net | http://facebook.com/moviewave
    •  
      CommentAuthorSouthall
    • CommentTimeDec 5th 2014
    Newman was the first one other than Barry who really successfully brought his own sound to it though, I thought. Serra brought his own sound but it didn't work. The others kind of blended other things with Barry pastiche. Newman wrote a Newman score that also sounded like a James Bond score, I thought.
    http://www.movie-wave.net | http://facebook.com/moviewave
  3. That's why I like Skyfall so much. When it comes to Arnold, I don't think the guy has much of a distinct style, to be honest. Not a fan, really.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorThor
    • CommentTimeDec 5th 2014
    PawelStroinski wrote
    That's why I like Skyfall so much. When it comes to Arnold, I don't think the guy has much of a distinct style, to be honest. Not a fan, really.


    What!?! He's one of the most recognizable voices in film music out there. People will claim it's all down to Nicholas Dodd, but I disagree. I hear it even in his non-Dodd scores. The sort of "Middle-Eastern" harmonic things, for example.
    I am extremely serious.
  5. Well, to me it's more "oh, that's John Williams... That's Rozsa... Oh, Barry?!"
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorThor
    • CommentTimeDec 5th 2014
    I don't think I've ever heard a score where I -- at some point -- didn't recognize Arnold's voice.
    I am extremely serious.
  7. I also find Arnold to be a quite unique voice. I never though he sounded anything like Barry, not even in his BOND scores.
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorSteven
    • CommentTimeDec 5th 2014
    Captain Future wrote
    I never though he sounded anything like Barry, not even in his BOND scores.


    dizzy
  9. He surely adapted Barrys formular - which I assume he was hired to do - still I don't think I would ever confuse an Arnold cue with one by Barry.
    Bach's music is vibrant and inspired.
    • CommentAuthorTimmer
    • CommentTimeDec 5th 2014 edited
    Captain Future wrote
    He surely adapted Barrys formular - which I assume he was hired to do - still I don't think I would ever confuse an Arnold cue with one by Barry.


    That may be so but saying you never thought he sounded anything like Barry in his Bond scores....eh???? uhm
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorSteven
    • CommentTimeDec 5th 2014 edited
    Captain Future wrote
    He surely adapted Barrys formular - which I assume he was hired to do - still I don't think I would ever confuse an Arnold cue with one by Barry.


    That's a rather different standard altogether, but Arnold has certainly aped (successfully) Barry's style throughout his career. Just listen to City of Lovers from Casino Royale for proof, as just one off the top of my head.

    dizzy
    • CommentAuthorTimmer
    • CommentTimeDec 5th 2014
    Yes. That one is arguably the best example.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  13. Timmer wrote
    Captain Future wrote
    He surely adapted Barrys formular - which I assume he was hired to do - still I don't think I would ever confuse an Arnold cue with one by Barry.


    That may be so but saying you never thought he sounded anything like Barry in his Bond scores....eh???? uhm


    Arnold doesn't vanish behind a Barry pastiche, he nods towards Barry but he always remains recongnizable with his own voice.
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorSteven
    • CommentTimeDec 5th 2014
    For the most part, yes. But you said he's never sounded anything like Barry. That's just false. dizzy
  15. O man! cheesy
    Bach's music is vibrant and inspired.
  16. "Robodog"
    Chrispy Bacon
    Source: none provided, but he is.


    Reportedly, though I can't find whether it was a rumor or not, John Powell's name had been attached to the film, but IMDb can be edited by anybody.

    First thing I thought of when I saw the film's name:
    https://www.youtube.com/watch?v=1IArVkwnfaI
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
  17. IMDB tends to add Powell's name to pretty much every upcoming animation movie ever. It does seem a safer name to bet on than most, admittedly. tongue
  18. "A Sexual Thriller"
    Geoff Zanelli
    Souce: agency representation website and the film's official website.
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
    • CommentAuthorAnthony
    • CommentTimeDec 11th 2014 edited
    Ref Spectre:

    Steven wrote
    I am disappointed Arnold isn't coming back, but at the same time I'm happy Newman is.


    These feelings mirror my own. The only way I'd be completely satisfied is if they were both working on it and Arnold was also writing the song.
  20. "How to Make Love Like an Englishman" (recorded)
    David Newman (replacing a score by Stephen Endelman)
    Source: the website of somebody who worked on Newman's score, and provided samples!



    EDIT:

    Oh, crap! It says it was recorded in March. Film Music Reported said Edelman was scoring it in September. Maybe it's David Newman who's had the scored tossed! I saved the tracks, you better believe that!
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
    •  
      CommentAuthorSteven
    • CommentTimeDec 13th 2014
  22. Edit: thankfully it was the old name of a film he did score.
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
  23. "Devil in a Blue Dress" (stage play)
    Branford Marsalis
    Source: indiewire.com

    I thought I'd mention it since he did a little bit of film scoring.
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
  24. "Jem and the Holograms" (some or all recorded)
    Nathan Lanier
    Source: resume of somebody who worked on the score.



    They've made a movie of this? That's truly outrageous.
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
  25. "Palio" (recorded)
    Alex Heffes
    Source: resumes or two different people who worked on the score.

    Some kind of sports drama/documentary.
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
  26. "Moana" (2018)
    Mark Mancina and Dave Metzger
    Sources: I'm seeing various places reporting he's going to do this animated film, and wiht Metzger, who will also handle the orchestra.
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
    •  
      CommentAuthorScribe
    • CommentTimeJan 9th 2015
    justin boggan wrote
    "Moana" (2018)
    Mark Mancina and Dave Metzger
    Sources: I'm seeing various places reporting he's going to do this animated film, and wiht Metzger, who will also handle the orchestra.


    This excites me a lot. I hope it happens. It's a good chance at getting a modern take on that Beyond Rangoon / Return To Paradise sound that has been so rare recently.
    I love you all. Never change. Well, unless you want to!
  28. This was posted on Facebook. Harry Gregson-Williams has become victim #2 on the new Mann film. You should never be composer #1 or composer #2 on his films -- always strive to be #3, you're safer that way.

    Dear all,

    I would like it to be known for what it’s worth that the ‘score’ for Blackhat maybe credited to me, but contains almost none of my compositions. I attended the premiere of the movie at the end of last week and discovered, to my horror, music that shocked and surprised me…quasi emotional (synth) string pieces that I’d never heard in my life before. I knew of at least one other composer, a good one at that(!), that had put in months of work on this movie just as I had, but this appeared to me to be in addition to both our contributions. To be honest, I’m not sure, as I’m having a hard time understanding what I heard and why it was there and I can say nothing for certain except that I was not the author of most of what is now in the movie. I feel like I want to point this out for anyone who like me cares about these things, as my name is right there listed as the lead composer and one would expect that credit to mean something, but it doesn’t. And I do care about that.

    I therefore reluctantly join the long list of composers who have had their scores either sliced and diced mercilessly or ignored completely by Michael Mann. This is his film and these are his decisions and I do respect that, but see no reason to have people mistake this score for one that I composed, or in any way approved of musically. The 90 minutes of score that I did write and deliver is, as I’ve said, mostly unused.

    I would still encourage you to check out his movie, as you may enjoy it.

    Harry



    By the way, he said 80 minutes in his interview in September.
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
  29. Did anyone else here just thought of Alex North when he read that?
    Bach's music is vibrant and inspired.
  30. Captain Future wrote
    Did anyone else here just thought of Alex North when he read that?


    think, not thought. tongue



    Still suffering from that Alec North thingy, huh?
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.

1981 to 2010 of 2321

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