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[Closed] Now Playing XVII

General Discussions » Now Playing XVII (Posts 1831 to 1860 of 3044)

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    •  
      CommentAuthorHeeroJF
    • CommentTimeDec 6th 2008
    Erik Woods wrote
    Nautilus wrote
    Anyway, Fenton is one of those composers who doesn't works for me.


    You should give such outstanding scores as Valiant, Anna and the King, Memphis Belle, Dangerous Beauty, and We're No Angels a chance.

    -Erik-

    Throw in there Mrs. Henderson Presents, too, imo.

    But yeah, but the emphasis on Valiant. I think every composer has that one score that anybody can appreciate even if you're not a fan of the composer's usual style. Like anyone can appreciate LotR, even non-Shore-lovers. Or everyone likes Batman even non-Elfman-affectionados. I think Valiant is Fenton's "catch-all" score like that.
    ''The mandate, as well as the benefit, of responsibility is the ability to tell when one can afford to be irresponsible.'' - Me
    •  
      CommentAuthorNautilus
    • CommentTimeDec 6th 2008
    NP:WaterHorse (Newton Howard)

    Relaxing...I like specially how Newton Howards mixes his synthetiser with the orchestra or the more acustic elements.
    •  
      CommentAuthorHeeroJF
    • CommentTimeDec 6th 2008
    Christodoulides wrote
    I adore BHD; every note in it. I can understand why not everyone appreciates something as raw as this, but i personally love it. It has lots of bits and pieces from various musical styles i like (rock, middle-eastern music, the trademarked Zimmer dramatic string-led music, carefully crafted and meaningful wordless vocals) all successfully blended into what i consider a coherent, effective and influential mix.

    That, perhaps is my greatest problem with BHD, personally. I might be inclined to like every note of the score as you say, if only there were a few more notes! biggrin It's all so strongly rhythmic and atmospheric, with SO little in the ways of melody. For extended 6~7-minutes tracks sometimes there seems to be nothing more than percussions and droning noise. Well at least that's what I hear. I really, really would like to enhance my experience with a viewing of the movie. I've heard a lot of good about it.

    Steven wrote
    Windtalkers James Horner
    I'm more than likely in the minority, but I'm rather fond of this score and its main theme. Always have been ever since it was released.

    I've also always liked it. For some reason when I listened to it again last week I didn't enjoy it as much as I remembered, but maybe it was because it'd been too long since my last time and I'd started to "forget" some of the score's melodic passages.

    NP: Wah-Wah, Patrick Doyle
    My other recent Doyle acquisition. It's not Igor, but it's still very lovely. More varied than Sleuth.
    ''The mandate, as well as the benefit, of responsibility is the ability to tell when one can afford to be irresponsible.'' - Me
    •  
      CommentAuthorHeeroJF
    • CommentTimeDec 6th 2008
    Martijn wrote
    Time Of The Wolf - John Scott

    I join with many people on this forum in regretting Scott never having gotten more high-profile film work to score. What a wonderful sense of symphony and lyricism this man displays!
    The only reason I can think of is that his style may be considered a bit old-fashioned in its classical approach (this score, incidentally, being a bit of an odd man out with its electric guitar and percussion bits).

    Hear, hear! I love John Scott and Time of the Wolf is also one of my favourites. I love great north Americana scores. The pantheon, as far as I'm concerned is:

    Balto, James Horner
    White Fang 2, John Debney
    Call of the Wild, Lee Holdridge
    Time of the Wolf, John Scott


    All fantastic "Great North" Americana pieces. We could do a guess-the-score game with that theme, but we've already exposed all the major titles.
    ''The mandate, as well as the benefit, of responsibility is the ability to tell when one can afford to be irresponsible.'' - Me
  5. Christodoulides wrote
    lp wrote
    PawelStroinski wrote
    Hans Zimmer - Frost/Nixon

    Good score and a kind of departure from the usual Zimmer style. Of course this low-key drama features some elements from his comedy and low-key drama scores. It is organic, though to me the most interesting aspect it really the minimalist character of the score, sometimes even subtly referring Philip Glass, though not too much. Good score and an interesting one for sure.


    I love it. The cyclical cello motif and rhythmic patterns are current evolution of ideas developed from his previous work on Ring, As Good As It Gets, Weatherman and I'll Do Anything. The culminating score is at time organic and textural, hypnotic (yup, like Glass), and very intimate.


    Ah indeed; i wondered where i heard the cello ideas before and they're certainly inspired from RING (a fabulous work btw), only shifted and moved on a different level. Low key and intimate, Frost/Nixon is certainly a very interesting work.


    Demetris, I would love to read a fuller review of yours. Can we count on that soon? Not necessarily on the blog, here even smile
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorDemetris
    • CommentTimeDec 7th 2008
    You can. In Xmas time most possibly. Now i am swamped shame
    Love Maintitles. It's full of Wanders.
  7. Great, looking forward!
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorHeeroJF
    • CommentTimeDec 7th 2008 edited
    NP: United 93, John Powell
    Also known as "John Powell in PercussionLand." Just two more tracks left... almost through!! I already have The Perform Storm on standby to rescue me from the droning bore that this score is... Ugh, I love John Powell to bits, but it was just beyond him to make this project entertaining. Well, granted, a project like that one? it probably would've been beyond anyone... But I dunno, surely we can list exemplary works of very serious subject matters that are still a good listen. Schindler's List for example?
    ''The mandate, as well as the benefit, of responsibility is the ability to tell when one can afford to be irresponsible.'' - Me
    •  
      CommentAuthoromaha
    • CommentTimeDec 7th 2008
    Timmer wrote
    NP : THE GREAT ESCAPE - Elmer Bernstein



    What more can I say about such an iconic and legendary score!? cool


    I agree completely. Amazing listening experience too. wink
    •  
      CommentAuthoromaha
    • CommentTimeDec 7th 2008
    I decided to pull out the Perfect Storm and watch it, plus listen to the score a couple of times. Great theme. How many times has he copied the enemy at the gates theme (if that is even where it was first used)? It is used in this, titanic, and enemy gates. Pisses me off Horner!!!!!!!
    •  
      CommentAuthorHeeroJF
    • CommentTimeDec 7th 2008
    Are you referring to the famous four-note menacing motif? Enemy at the Gates certainly wasn't the first one! That's in fact on of its last recorded use. Enemy at the Gates was made after The Perfect Storm and Titanic.

    I refer to it as the "Nockmaar Motif" because it's used to represent the Nockmaar villains in Willow, and that goes back as far as 1988. But I think at least one other score used it before then. Besides which, other composers had used it before him anyways. Elmer Bernstein, and Michael Small in Marathon Man.

    But I love it!! I like all of Horner's "Hornerisms". Look at it this way: when you listen to a score and start to recognize a recurring theme, it's really cool and fun each time you spot a variation of that theme or motif throughout the score, from one track to the other, right? And yet no one gets on a composer's case for re-using one theme from a track to another withing the same score, no? Well I simply consider Horner's entire career as one single long-running score. Each new CD is a new chapter in what is essentially a single work in progress. And so it feels me with the same little happy giddy feeling when there's a motif from an earlier score that reappears in a new one. It's like a visit from an old friend. I love it.

    I also just finished listening to The Perfect Storm. So wonderful. cheesy

    NP: Land's End, Marco Beltrami
    It's a like a Thomas-Newman-with-Balls score, with some very nice spanish and middle-eastern influences. Very quite good. Not very well-known though.
    ''The mandate, as well as the benefit, of responsibility is the ability to tell when one can afford to be irresponsible.'' - Me
    •  
      CommentAuthoromaha
    • CommentTimeDec 7th 2008 edited
    HeeroJF wrote
    Are you referring to the famous four-note menacing motif? Enemy at the Gates certainly wasn't the first one! That's in fact on of its last recorded use. Enemy at the Gates was made after The Perfect Storm and Titanic.

    I refer to it as the "Nockmaar Motif" because it's used to represent the Nockmaar villains in Willow, and that goes back as far as 1988. But I think at least one other score used it before then. Besides which, other composers had used it before him anyways. Elmer Bernstein, and Michael Small in Marathon Man.

    But I love it!! I like all of Horner's "Hornerisms". Look at it this way: when you listen to a score and start to recognize a recurring theme, it's really cool and fun each time you spot a variation of that theme or motif throughout the score, from one track to the other, right? And yet no one gets on a composer's case for re-using one theme from a track to another withing the same score, no? Well I simply consider Horner's entire career as one single long-running score. Each new CD is a new chapter in what is essentially a single work in progress. And so it feels me with the same little happy giddy feeling when there's a motif from an earlier score that reappears in a new one. It's like a visit from an old friend. I love it.

    I also just finished listening to The Perfect Storm. So wonderful. cheesy

    NP: Land's End, Marco Beltrami
    It's a like a Thomas-Newman-with-Balls score, with some very nice spanish and middle-eastern influences. Very quite good. Not very well-known though.


    No, not that one. I'm referring to the MAIN theme of enemy at the gates. The more thematic one.

    It is used once in both Titanic and The Perfect Storm. Is played by either strings or woodwinds. I forgot which.

    I'm okay with little trademarks, yet some use it quite excessively (*cough* Horner).
    Enemy of the Gates just took that little theme and made it its main theme. I guess he couldn't come up with anything new. slant
    •  
      CommentAuthorHeeroJF
    • CommentTimeDec 7th 2008
    Oh yes! I know what you mean. It's not the first time he's done that, either. To use incidental "seeds" of melodies from previous scores and turn them into fully-fleshed themes. I think that's brilliant too. And so much fun to follow the progression of a melody throughout his works. But that's just me. I know there are lots of people it bothers.

    NP: Terminator 3, Marco Beltrami
    After Land's End, I stayed in a Beltrami mood. A much more coherent a "fun" score than either of the previous two Terminators. Sure it doesn't have that power main theme to anchor it, but it's got that Beltrami sound that drives it home.
    ''The mandate, as well as the benefit, of responsibility is the ability to tell when one can afford to be irresponsible.'' - Me
    •  
      CommentAuthorDemonStar
    • CommentTimeDec 7th 2008
    I dedicate today's playlist for all 3 LoTR Complete Recordings. Should be enough for the day! biggrin
    •  
      CommentAuthorHeeroJF
    • CommentTimeDec 7th 2008
    Holy crap. Are there enough hours in a day to listen to that?
    ''The mandate, as well as the benefit, of responsibility is the ability to tell when one can afford to be irresponsible.'' - Me
    •  
      CommentAuthorDemonStar
    • CommentTimeDec 7th 2008
    Um... the whole thing runs approx. 11 hours. I guess it'll be background music as I study wink biggrin
    •  
      CommentAuthorHeeroJF
    • CommentTimeDec 7th 2008
    You don't happen to be studying LotR music, are you? That'd be mighty convenient.
    ''The mandate, as well as the benefit, of responsibility is the ability to tell when one can afford to be irresponsible.'' - Me
    •  
      CommentAuthorDemonStar
    • CommentTimeDec 7th 2008
    HeeroJF wrote
    You don't happen to be studying LotR music, are you? That'd be mighty convenient.


    LOL biggrin
    •  
      CommentAuthoromaha
    • CommentTimeDec 7th 2008
    Afrika
    anyone play this game?
    is it good?
    I'd be willing to buy it to see how it is used.

    cool
    •  
      CommentAuthoromaha
    • CommentTimeDec 7th 2008
    Amistad.
    What a score *sigh*

    May Williams never die.
    •  
      CommentAuthorDemetris
    • CommentTimeDec 7th 2008
    HeeroJF wrote
    NP: United 93, John Powell
    Also known as "John Powell in PercussionLand." Just two more tracks left... almost through!! I already have The Perform Storm on standby to rescue me from the droning bore that this score is... Ugh, I love John Powell to bits, but it was just beyond him to make this project entertaining. Well, granted, a project like that one? it probably would've been beyond anyone... But I dunno, surely we can list exemplary works of very serious subject matters that are still a good listen. Schindler's List for example?


    Have you watched the movie?
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorHeeroJF
    • CommentTimeDec 7th 2008
    No. It goes without saying that the score most probably does wonders for the emotional visuals, but if there ever was a score that "worked for the film but not on disc", as it's been said many times before, it's this one.

    My friend who's not really a film music affectionado said the same thing after seeing The Prestige. She told me "get the score, it was SO effective!" But of course I get it and open myself to a big lengthy droning experience with no hook. I'm sure the music worked its magic (no pun intended) on my friend in the film but fails to grab me on CD. United 93 is the same. For 90% of the score Powell just lets his percussion do the talking with nothing but a single droning chord in the background, it seems. Same reason I can't get into Black Hawk Down or Tears of the Sun, only much, much worse.
    ''The mandate, as well as the benefit, of responsibility is the ability to tell when one can afford to be irresponsible.'' - Me
    •  
      CommentAuthorDemetris
    • CommentTimeDec 7th 2008
    United 93 is a tremendously shocking, emotional experience in all levels, audio and visual. John Powell's score is beyond anything i'd have ever expected this movie to have as a musical accompaniment and i cannot really think of anything more appropriate to escort the gripping visuals.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorMiya
    • CommentTimeDec 7th 2008
    NP: Howl's Moving Castle (Soundtrack) - Joe Hisaishi

    The main theme "Merry-Go-Round Of Life" is incredibly memorable and beautiful. But, other than that, overall this is my least favorite of all Hisaishi/Ghibli scores. I still think it's a good score, but I can't get into it so much, even if I really love the main theme.
    Labels are for cans, not people. - Anthony Rapp
    • CommentAuthorAnthony
    • CommentTimeDec 7th 2008
    Christodoulides wrote
    United 93 is a tremendously shocking, emotional experience in all levels, audio and visual. John Powell's score is beyond anything i'd have ever expected this movie to have as a musical accompaniment and i cannot really think of anything more appropriate to escort the gripping visuals.


    Indeed. To me, it doesn't sound like drone, but more like a Bourne score without the action.
    •  
      CommentAuthorMiya
    • CommentTimeDec 7th 2008
    NP: The Parent Trap Suite - Alan Silvestri

    Need some sweeties.
    Labels are for cans, not people. - Anthony Rapp
    •  
      CommentAuthorRalph Kruhm
    • CommentTimeDec 7th 2008 edited
    HeeroJF wrote
    I refer to it as the "Nockmaar Motif" because it's used to represent the Nockmaar villains in Willow, and that goes back as far as 1988. But I think at least one other score used it before then.

    Star Trek II would be the most prominent example I think, and that was back in 1982! Just listen to Surprise Attack, Horner made a whole theme out of it there, for me the best use of the motif ever. Every time I heard it after that, I watched out for a considered-to-be-friendly space ship that suddenly raises shields...

    Wow, I didn´t know how familiar I am with that movie and score... I didn´t even have to look up the track title... must be because I listened to it a trazillion times as a kid. Absolutely the most rocking Trek movie ever. I really, really hope Abrams can do it again.
  28. Miya wrote
    NP: The Parent Trap Suite - Alan Silvestri

    Need some sweeties.


    Something's happened?
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorMiya
    • CommentTimeDec 7th 2008
    PawelStroinski wrote
    Miya wrote
    NP: The Parent Trap Suite - Alan Silvestri

    Need some sweeties.


    Something's happened?


    Nothing. I was just hungry. biggrin
    Labels are for cans, not people. - Anthony Rapp
    •  
      CommentAuthorSteven
    • CommentTimeDec 7th 2008
    PawelStroinski wrote
    Miya wrote
    NP: The Parent Trap Suite - Alan Silvestri

    Need some sweeties.


    Something's happened?


    That's a rather revealing post on your part, Pawel!

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