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- CommentAuthortjguitar
- CommentTimeDec 10th 2007
Pawel, what composer DOESN'T write scores that sound like somebody else?
Get real. dude. -
- CommentAuthorPawelStroinski
- CommentTimeDec 10th 2007
It's a question of having a strong enough identity to call it somebody's distinct work. Zimmer has one. Giacchino has one. JNH has one. Even Korngold-ripping Williams (exaggerating for sake of discussion) has one. Horner (ripping every classical composer to have happened on Earth) has one. Tyler's not so strong.http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentTimeDec 10th 2007 edited
Well, we are over the same things once again, i don't feel like i have anything more to contribute. A couple of points before i'm off to bed though:
1) About Polish press: i honestly couldn't care less, i don't give a fuck; don't take me wrong but i never go with what everyone says and especially with trends. There are people whose opinions matters to me and i want to hear but that never dictates what I feel eventually. I am sorry to say that not your opinion - but the way you present it, comes along as heavily biased, at least to me. Don't take me wrong, i am just thinking out loud, but are you sure you're not biased, even at the slightest degree? 'Cause you seem like someone who wanted SO hard and SO bad to convict someone RIGHT FROM THE VERY FIRST NOTE, right from the very first sound he ever listened by that someone. Again, don't take me wrong, but if you just step back a bit and observe, you may see that too, even lesser than me, but still.
2) I only WISH that able orchestral writing was in fact so easy as you set it to be, mate. And if that's the truth, then we should only be getting orchestral frenzies as scores instead of the usual crap we're getting and with all scores so great, it'd have only been a matter of personal taste and not quality in film music, at all. But reality seems to differ. Oh; and orchestral writing IS of great importance, alas to the musician / or the musically cultivated who doesn't acknowledge and recognize the importance of qualified orchestral writing, its quality, its requirements and difficulties, its superiority. I'd feel ridiculously, even trying to explain why as it's dead-obvious; it's written throughout the course of musical history and we are too small to challenge it.
Ta-tahLove Maintitles. It's full of Wanders. -
- CommentAuthortjguitar
- CommentTimeDec 10th 2007
PawelStroinski wrote
It's a question of having a strong enough identity to call it somebody's distinct work. Zimmer has one. Giacchino has one. JNH has one. Even Korngold-ripping Williams (exaggerating for sake of discussion) has one. Horner (ripping every classical composer to have happened on Earth) has one. Tyler's not so strong.
The fact is Tyler DOES have a distinct voice. Listen to TIMELINE, CHILDREN of DUNE and PARTITION. How can you not notice the clear similarities in these? And then ANNAPOLIS, WAR and TOKYO DRIFT, you can hear similarities among those, and simiarities from that group to the more orchestral group.
Instead actually listening to his music, your picking away and looking for homages or rips or similarities in indivdiual tracks instead of actually listening to the works as a whole. You seem to have a predisposition to hate his music (because "other people like him" ?), so it's not really a surprise.
Hell, I can't think of anyone more overrated than your precious Giacchino. Peopel act like he's the second coming of John Williams...and it's just not the case. Not yet anyway. -
- CommentTimeDec 10th 2007 edited
PawelStroinski wrote
Horner (ripping every classical composer to have happened on Earth) has one. Tyler's not so strong.
I think you realize how contradictory and self-canceling those arguments of yours are mate. The Horners of the world have one because you like it and because you want them to be as such; Tyler doesn't because of your personal contrary. I gotta say that this discussion is getting really tiring, i don't see any real arguments beside subjective personal "doesn't's" and "there is not"'s in contradiction to what the majority of people do attribute to Tyler as a personal and recognizable sound, even if NOT the most original out there.Love Maintitles. It's full of Wanders. -
- CommentAuthortjguitar
- CommentTimeDec 10th 2007
Christodoulides wrote i don't see any real arguments beside subjective personal "doesn't's" and "there is not"'s in contradiction to what the majority of people do attribute to Tyler as a personal and recognizable sound, even if NOT the most original out there.
The originality is irrelevant to me. I'm not going to argue whether it's original or not, I highly doubt ANYBODY working for film is completely original and that includes Williams.
My main point was that Tyler has a distinct sound that when you listen to all of his scores, you can tell, "oh it's Brian Tyler", I gave examples about the melodic structure, orchestrations and rhythms in the strings and such, but alas, some people seem to only hear what they want to hear. -
- CommentTimeDec 10th 2007 edited
tjguitar wrote
My main point was that Tyler has a distinct sound that when you listen to all of his scores, you can tell, "oh it's Brian Tyler", I gave examples about the melodic structure, orchestrations and rhythms in the strings and such, but alas, some people seem to only hear what they want to hear.
Exactly.Love Maintitles. It's full of Wanders. -
- CommentAuthorEnemyToo
- CommentTimeDec 10th 2007
tjguitar wrote
I don't understand you people and your obsession with the temp track.
Do you have ethical problems with it? Whats your deal? If you want to get rid of composers falling into the trap of souning similar...then eliminate the temp track altogether. They are paid to do a job, not be creative.
This is HOLLYWOOD. It's BUSINESS first, and an art second, is this not common sense? We don't have studios cutting films to match music a la Korngold. It's a different time and a different world.
You can continue to shit on Tyler, but thankfully it will not hinder his hiring for films and I will continue to buy his scores and listen to his music, because I enjoy it, and if it sounds like something else? So what. Chances are I don't have that something else, so why should I care?
Most of the time, you people and your "that sounds like ____" is such a stretch that you have to do a deep analysis of the music and be looking for it.
Star Wars sounds like Korngold, I guess we should throw it out too.
Couldn't have said it better myself. -
- CommentTimeDec 10th 2007 edited
Christodoulides wrote
PawelStroinski wrote
Demetris, these cranky obsessions let me find a voice of Michael Giacchino and in the end respect him even more than I really loved him after his Williams references called the first MoH scores. After two or three scores and even action tracks I managed to find a style of Marco Beltrami, who I rather dislike except Hellboy and I plan to hear I Am Dina, which I've heard really good opinions of.
This all happened because people start going over how great Brian Tyler is as a composer ina situation when I can't even define his personality. And a musical personality is something I am looking for. Not homages, temp-track love, but something very distinct. Aside from musical voice there are some things I rate highly with other composers. Michael Giacchino is one of the most intelligent composers working today. With Horner I've had (he lost it recently) a big child going in great emotional diatribes over the drama of the movies, no matter how it screws up the movie sometimes. With Zimmer I have either intelligence or his weird sense of humour, often present in an ironic twist in his most serious dramatic works, like Hannibal and his later "romantic comedy" remark. With Goldsmith I have his intelligent rhythmic patterns and odd meters. Most of today living and writing composers don't have that. They just do their jobs better or worse, sadly, mostly worse. From this generation, I would say Mansell is a very positive difference (for lack of the idiom).
Why do you have to compare him, constantly, with other composers? Isn't it a bit unfair (especially when you compare him with Michael Giacchino, a modern-day genius if you ask me and i am not exaggerating even the slightest, i am dead-serious)? I strongly think that generally, every composer must be given the chance and studied / regarded withing his own frame of work.
Tyler loves what he does? Great. But I need something else. I mean, everybody working in the industry except people doing classical music as their main job love what their do. He is passionate perhaps more than anybody else and that has him having lots of fun while doing such a loud and, yes!, admittedly referential work like Alien vs. Predator. But being subtly referential and taking pages from other works, which he does here too, e.g. in a piece I always mention, which is Taking Sides, is something completely different *even* in a largely homage work. If I would write such a referential work, I would take and fully credit a theme from one of the movies and, frankly, I'd take Silvestri's Predator main title rhythm (I think he does actually). I wouldn't take Horner's Main Title, because it's really Gayane's Adagio . And then work around these basic patterns.
OK, easy to say for me, but I don't like myself in that matter and I never said I was a rather good composer, because I rip everybody and I know that. That's why I seldom show my own works, really. I had no education *at all* and can't do more than ripping off Zimmer and Horner, now probably I could add Brian Tyler to that matter, because, yes, there is a pattern he does repeat in almost every action score he does, it's very obvious to me in Decimation Proclamation. But many composers feature similar patterns today. That's why I take a lot of modern writing composers above Tyler and him being so praised like he is is something that does annoy me, because for me he is like everybody else from his generation except largely stylish Powell and aggressively percussive Giacchino using sul ponticello tremolo to a great effect, better than anybody else today.
Do I wish I could write something like AVP myself? Yes and no. Yes, because it is a very complex work outside of my own abilities as a composer. That I don't take away from Tyler, though I really wonder of Elhai's input in Tyler works. Me not having as good equipments wouldn't even let me use half of the effects he uses. No, because I would love to get a very strict compositional identity, without clear influences by other composers and temp-track. I said that many times above. For me, complexity is not enough. I can prefer a very simple work to a complex action piece if I find that work much more inspired and emotional.
Large rant here, but lack of a very strong identity and musical personality and being somewhat lackluster in his performances, I can't say what's wrong with them, I find the orchestra performs his works somewhat by the numbers always, makes me feel he is a way overrated composer. Partition didn't change my mind in that matter.
Pawel, Tyler's hugely appreciated in the business partly due to his unending enthusiasm and passion for film music which overflows everything and it's impressively fused with absolute professionalism. Very few composers will go excitingly talking out loud and clearly about other composers' works using specific examples and names, almost as "looney" and passionate as we do here and this is something everybody adores in Tyler.
But that's just a matter of personality and it might not be as important. However, what you have to acknowledge and understand is that Tyler has an evidently enormous musicianship and knowledge of SO MANY DIFFERENT MUSICAL GENRES / INSTRUMENTS that so few other people in the industry actually do, nowadays. The man is SO old school in his approach to film music whilst simultaneously at the peak of technological knowledge and that's something that's clearly evident in his work which in VIOLENT contrast to the plethora of examples of totally ridiculous and amateuristic usage of electronics in film music (Wiseman's FLOOD being a fresh one) he showcases probably the most logical, well fit-in and metered usage of electronics today after JOHN POWELL and HARRY GREGSON WILLIAMS.
Furthermore, his orchestral writing abilities are undeniably IMPRESSIVE but what's most lovable within Tyler's approach to the movies is that whereas many other composers would quickly step in, do the job without too much hustle, provide something generic and fast to merely serve the movie, TYLER has the time, will and passion necessary to actually sit down and bang the hell out of the musical side of virtually each and every project he writes for; who could have EVER came up with such energetic, dense and rousing stuff for like WAR, TOKYO DRIFT or even AVPR or the crap that is the movie DARKNESS FALLS?! i can assure you, VERY FEW and you know that to be true, there are everyday examples all around us.
I can wholly respect (as i numerously said in the recent past) your wish not to like him or his music and there are stuff by Tyler i don't like either but you simply can't burn down to the ground everything that's related to his name just because you don't appreciate his work or you can't get into it, imo. I, for one, would deeply wish that half the younger composers working today in the industry actually shared his immerse passion and love for our beloved genre; things could have been SO different; for that alone, i hugely respect him.
So true, besides he is just an extremely friendly guy, he even takes time to reply my lame questions occassionally. Another such great guy is William Stromberg. Both are pure old school filmmusic fan boys, which are so much needed nowadays.
I say it again... Tyler and Shearmur are (for me) the most interesting "new" composers out there. I just like their styles. And Tyler can actually write different kinds of musical styles, without sounding forced. For example Tokyo Drift. I really would like to see Tyler team up with Paul Verhoeven btw. (for his Frailty score is just so much like a score that could have been written for a Verhoeven movie)www.budgethotels-hongkong.com LOWEST Hong Kong hotel rates -
- CommentAuthorPawelStroinski
- CommentTimeDec 10th 2007
Christodoulides wrote
Well, we are over the same things once again, i don't feel like i have anything more to contribute. A couple of points before i'm off to bed though:
1) About Polish press: i honestly couldn't care less, i don't give a fuck; don't take me wrong but i never go with what everyone says and especially with trends. There are people whose opinions matters to me and i want to hear but that never dictates what I feel eventually. I am sorry to say that not your opinion - but the way you present it, comes along as heavily biased, at least to me. Don't take me wrong, i am just thinking out loud, but are you sure you're not biased, even at the slightest degree? 'Cause you seem like someone who wanted SO hard and SO bad to convict someone RIGHT FROM THE VERY FIRST NOTE, right from the very first sound he ever listened by that someone. Again, don't take me wrong, but if you just step back a bit and observe, you may see that too, even lesser than me, but still.
2) I only WISH that able orchestral writing was in fact so easy as you set it to be, mate. And if that's the truth, then we should only be getting orchestral frenzies as scores instead of the usual crap we're getting and with all scores so great, it'd have only been a matter of personal taste and not quality in film music, at all. But reality seems to differ. Oh; and orchestral writing IS of great importance, alas to the musician / or the musically cultivated who doesn't acknowledge and recognize the importance of qualified orchestral writing, its quality, its requirements and difficulties, its superiority. I'd feel ridiculously, even trying to explain why as it's dead-obvious; it's written throughout the course of musical history and we are too small to challenge it.
Ta-tah
1. It's something I mentioned as a total contradiction to the rest of the world, really, who seem to call him one of the best guys working today. Which I disagree with. If I am biased against Tyler, it's not because I start to listen to him with the will to hate his work, but because I don't find things other people find and get frustrated that e.g. Children of Dune is not a five star work for me as it was for Clemmensen, AVP wasn't as great as you advertised the clips. Yes, that was supposed to shut the mouths of Tyler's naysayers, but alas, it actually opened mine. Each time I listen to a work of his I don't yet know I wonder what does he have that people adore so much in him. And each time I end up saying "Nothing" around the half of an album. Because hundredth reworking of Darkness Falls isn't something that would fascinate me the most.
2. I never said orchestral writing is so easy. I just don't give so much emphasis to it. The expression and overall performance is much more important to me than the technical aspect of a score. To give an example I believe Lion King is sometimes ridiculous in its orchestrations. But emotionally it's wonderful. On the other hand recently I mostly ask myself "OK, so what?" after a dramatic action/adventure score done by people of the generation Tyler happens to belong to. Yes. It IS very important and hard to do right. But there is one thing. When Mansell needed to write a fully orchestral adventure for Sahara, he was given Nicholas Dodd as a collaborator. See the thing? When directors/producer need a more orchestral score they either get Tyler, Powell or Giacchino, or they hire a composer like Mansell or other recent-ambient-starlet (with all due respect to the great composer that Mansell is, I'm rather objecting about the likes that recently start getting assignments and are not far from recent JNH outings) and give them Nicholas Dodd or a bunch of VERY good orchestrators like Robert Elhai (not against Tyler here, I am mentioning orchestrators that are known for specific sound), Nicholas Dodd, Ken Kugler, Steve Bartek (OK, I know I'm going into recent Zimmer territory, but again it's a case of names) or anybody who can pull an ambient composer into doing a rather rousing orchestral adventure.
OK, that actually says good about Tyler, but one remark to AVP - he didn't orchestrate it. But that's what I wanted to say when I mentioned that with decent help anybody could pull AVP off. Probably I would find the score much, much better, had I heard not as much of those Horner/Silvestri references, but more slower material, more emphasis (not in album length, rather in composer's attention) on underscore, there are many orchestral effects he could use without referring to Horner and/or Goldsmith. Loving homages? Maybe, but man, create more of your own identity, WHERE YOU CAN. That's the case. There are so many places for creativity, where he doesn't put it. Back to another league, Zimmer reinvented the horror genre for The Ring. Can't Tyler do it with Alien vs Predator?
How? First, screw Holst. Listen to more Penderecki and Goldenthal. What can we learn from then? Something in abundance in AVP 2, but not as much as with these guys. Demetris, correct me here, as you know more in that matter, but avant garde is much more percussive than any other classical music. Take a listen into The Passion of St. Luke. What we can get there? Magnificient musical atonal storytelling. Not easy to listen? Fuck, yeah. But that's what we intend to get. Brass is typical for action music in horrors and any genres, let's stick to strings, they have many amazing effects, lots of them I probably don't know yet. Listen to Giacchino. Listen to Horner's Aliens and The Ring.
OK, I believe that would give us a nice preparation. What do we learn from Penderecki? Percussion writing, lots of tom bangs. Helpful, though typical for avant-garde. Goldenthal and Penderecki give us orchestrational effects used a lot in horror scores. And the right atonality. Serial writing would be pretty intelligent here. Play more with counterpoint in strings, two series at once, one being the retrograde of the others and them for high tremolo violins? Quick minimalistic motifs (sounds Goldenthal perhaps) for the celli with a slower counterpoint for basses? Violas could play a sort of main theme then. OK, I don't know the film and probably I sound as generic and stupid as even Paul Haslinger would invent something better, but I'd look for more of a challenge than just referring to the scores. I always laughed of The Shining that the best thing about the music is that where composers rip off the pieces, Kubrick actually used the originals!
I know crap about orchestral writing, but what I mean here is that I would stretch about and look for something a bit more like a... challenge?http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentTimeDec 10th 2007 edited
PawelStroinski wrote
OK, I believe that would give us a nice preparation. What do we learn from Penderecki? Percussion writing, lots of tom bangs. Helpful, though typical for avant-garde. Goldenthal and Penderecki give us orchestrational effects used a lot in horror scores. And the right atonality. Serial writing would be pretty intelligent here. Play more with counterpoint in strings, two series at once, one being the retrograde of the others and them for high tremolo violins? Quick minimalistic motifs (sounds Goldenthal perhaps) for the celli with a slower counterpoint for basses? Violas could play a sort of main theme then. OK, I don't know the film and probably I sound as generic and stupid as even Paul Haslinger would invent something better, but I'd look for more of a challenge than just referring to the scores. I always laughed of The Shining that the best thing about the music is that where composers rip off the pieces, Kubrick actually used the originals!
I know crap about orchestral writing, but what I mean here is that I would stretch about and look for something a bit more like a... challenge?
Penderecki is brilliant.
Goldenthal is pure genius.
Not everyone can be like them though; it's also what makes them one of a kind.
Oh and if more people started to - at least try - write like Penderecki and all, i can guarantee you we'd hear the word Rejected so many more times!Love Maintitles. It's full of Wanders. -
- CommentAuthorPawelStroinski
- CommentTimeDec 10th 2007
Yes, but I hope you understand what I'm talking about here. There are things to discover for all composers, Tyler including, that they never try!http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentAuthorPawelStroinski
- CommentTimeDec 10th 2007
Oh and what do you think about my string idea up there? Who would it rip off? I'm asking because I wonder what new composer could I rip. I can't get out of myself anything originalhttp://www.filmmusic.pl - Polish Film Music Review Website -
- CommentAuthortjguitar
- CommentTimeDec 10th 2007
PawelStroinski wrote
Yes, but I hope you understand what I'm talking about here. There are things to discover for all composers, Tyler including, that they never try!
I'm sure if you want to commission a composition, they'd be glad to try. -
- CommentAuthorPawelStroinski
- CommentTimeDec 10th 2007
Concert to film are different things. Barely anyone risks for film recently. If they get a large orchestra they rework the temp-track mostly. Not the best option to be creative, of course. But I can imagine people rather not willing to try to get over it.http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentAuthortjguitar
- CommentTimeDec 10th 2007
Why would they risk? more often than not, they'd not only risk their job, but future jobs by giving themselves the reputation of not doing what the direct wants. -
- CommentAuthorPawelStroinski
- CommentTimeDec 10th 2007
Yeah. And that is painful. Though some do it more willingly than others. There's the problem I have with some composers.http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentAuthortjguitar
- CommentTimeDec 10th 2007
I somehow doubt it. There's so much orchestral music out there that the ones you think are "original" you just havent heard the stuff that it might have been temped with. -
- CommentTimeDec 10th 2007
tjguitar wrote
I don't understand you people and your obsession with the temp track.
Tell that to Brian Tyler, please. It's not an obsession, it's the fact that if I already own The Bourne Supremacy then I object to having to pay $20 to have it repackaged as War, and if I already own Legends of the Fall then I object to having to pay $20 to have it repackaged as The Greatest Game Ever Played. As you say, everyone does it to an extent, but by no means does everyone do it as frequently or blatantly. Your comment that it's a business and so therefore cannot be creative may have some truth to it, but it hasn't stopped hundreds of truly creative film scores from having been written, and still keeps on not stopping plenty of film composers managing to write scores which don't just ape the temp-track. Someone said in the Thomas Newman thread that Wall-E will probably sound like the temp-track, which consists of Star Wars and Punch Drunk Love. I guarantee that Wall-E will sound absolutely nothing like the temp-track. -
- CommentTimeDec 10th 2007
Guys, could I implore you to follow James' example and only quote excerpts of posts that are actually relevant to the point you're gonna make?
The fact that entire essays that are quoted in response essays that themselves again are quoted in posts that only say "agree", makes this thread very hard to follow, which is a shame as a number of interesting point and arguments (and some not so good ones) are being made that are worth reading.
Thanks!
'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn -
- CommentAuthortjguitar
- CommentTimeDec 10th 2007
Southall wrote
tjguitar wroteif I already own Legends of the Fall then I object to having to pay $20 to have it repackaged as The Greatest Game Ever Played..
I don't understand you people and your obsession with the temp track.
As much as we love scores, you do realize they aren't composed for album release? I don't think Disney cares if you pay $20 (besides you have no right to complain about how much it costs, you get many of yours for FREE.)
I don't understand your LEGENDS OF THE FALL example either, because they sound NOTHING alike other than they are played by Western Orchestra instrumentation......which 80% of American film scores do.
The melody (of the theme), which is what what most people would be humming and noticing and comparing in the world of music, sounds NOTHING like Legends. -
- CommentTimeDec 10th 2007
tjguitar wrote
Southall wrote
tjguitar wroteif I already own Legends of the Fall then I object to having to pay $20 to have it repackaged as The Greatest Game Ever Played..
I don't understand you people and your obsession with the temp track.
As much as we love scores, you do realize they aren't composed for album release? I don't think Disney cares if you pay $20 (besides you have no right to complain about how much it costs, you get many of yours for FREE.)
"A few", not "many", and certainly not that one, which I paid for and which I object most strongly to having done so, and I'll certainly never be paying for another Tyler score since I've been bitten too many times now. As if that's got anything to do with my right to complain anyway. The credit says "Music composed by Brian Tyler", it doesn't say "Music arranged by Brian Tyler", it doesn't credit the person who actually composed the music, it doesn't pass royalties to the person who actually composed the music, it doesn't make clear anywhere on the packaging that you're not buying an original release. That's what's wrong with it. It's a soundtrack album - an album - and I'm talking about that. -
- CommentAuthorPawelStroinski
- CommentTimeDec 10th 2007
I completely agree with Southall, though I have that one with the whole career, not only most recent outings. And that's why I was wondering if he really doesn't *like* redoing it. Newman somehow can write a wholly Thomas Newman score even if he has Star Wars as temp-track. Tyler did Greatest Game.http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentAuthortjguitar
- CommentTimeDec 10th 2007
The "rip" is in DISPUTE. Just because you say it sounds like something doesn't mean that it's actually the same, and no credit is given.
And as far as I'm concerned, as long as it's not a DIRECT QUOTE WITHOUT CREDIT, it is not plagiarism.
If you are musically talented enough to paraphrase someone else's music so that it isn't obvious, then you are in the safe zone. Thats how it works in academia, and there's no reason it shouldn't extend to the real world (and it DOES extend to the real world....ever read a newspaper, how often do they cite their sources?).
You claim that James Horner composed THE GREATEST GAME EVER PLAYED. ASCAP would disagree with you, and in the end, that is whose opinion matters. -
- CommentTimeDec 10th 2007
The obsession with Tyler's plagiarism and not’s has been overdone, imo. Everybody does it, get over it. Next subject.Love Maintitles. It's full of Wanders. -
- CommentTimeDec 10th 2007
tjguitar wrote
And as far as I'm concerned, as long as it's not a DIRECT QUOTE WITHOUT CREDIT, it is not plagiarism.
That's how the law sees it, too.
You claim that James Horner composed THE GREATEST GAME EVER PLAYED. ASCAP would disagree with you, and in the end, that is whose opinion matters.
Not to me. -
- CommentAuthortjguitar
- CommentTimeDec 10th 2007
I'm sorry Demetris, but I take issue with these erroneous claims that:
1.) Tyler does not have a distinct, recognizable voice/sound.
2.) Greatest Game Ever Played sounds even remotely like Legends of the Fall.
3.) That something is not "original" somehow lessens it's worth as a work of art.
4.) That if something even sounds similar, that it was NECESSARILY a RIP OFF. Where's the proof? -
- CommentTimeDec 10th 2007 edited
I was talking more specifically about "the others"Love Maintitles. It's full of Wanders. -
- CommentTimeDec 10th 2007
tjguitar wrote
I'm sorry Demetris, but I take issue with these erroneous claims that:
1.) Tyler does not have a distinct, recognizable voice/sound.
He does
tjguitar wrote
2.) Greatest Game Ever Played sounds even remotely like Legends of the Fall.
It does. I mean, are you the only one on the planet that doesn't hear the Lifeforce/Deep Blue Sea rip off in Children of Dune?
tjguitar wrote
3.) That something is not "original" somehow lessens it's worth as a work of art.
I call that lazy! Tyler definately has talent but I haven't really heard him craft a good, solid, original theme of his own lately. While most other composers can also be accused of this, most of them are able to write a desent original melody to proudly call their own. Tyler's GREATEST GAME theme is shameless.
tjguitar wrote
4.) That if something even sounds similar, that it was NECESSARILY a RIP OFF. Where's the proof?
Do we have to resurrect the RIP OFF thread from scorereviews.com with sound clips again. Man, that was a shit load of work and I don't know if I prepared at the moment to construct those comparison clips again. TJ, just use your ears and really listen.
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- CommentAuthortjguitar
- CommentTimeDec 10th 2007
It does. I mean, are you the only one on the planet that doesn't hear the Lifeforce/Deep Blue Sea rip off in Children of Dune?
I heard Deep Blue Sea (still its not identical, only the first few notes, and even then there's a variation) Did not hear Lifeforce, I assume the Lifeforce rip was in a different cue that you didn't specify....all I have from lifeforce is the one silva cue, soo....)
Tyler definately has talent but I haven't really heard him craft a good, solid, original theme of his own lately.
Uh, what is the beautiful main theme from Partition ripping off?
Do we have to resurrect the RIP OFF thread from scorereviews.com with sound clips again. Man, that was a shit load of work and I don't know if I prepared at the moment to construct those comparison clips again. TJ, just use your ears and really listen.
I didn't take part in a RIP OFF thread at scorereviews, as far as I can recall. The only ripoff thread I remember bickering with you about was at MMUK about Lair.