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General Discussions » Now Playing XX (Posts 631 to 660 of 2974)

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    • CommentAuthorTimmer
    • CommentTimeMay 6th 2009
    Christodoulides wrote
    Miya wrote
    NP: Casualties Of War - Ennio Morricone @ StreamingSonudtracks.com

    I just noticed a woodwind sound which Zimmer copied to Elephant Graveyard scene tongue


    I could never get into that score, no matter how hard i tried. sad


    Though I can understand you not liking a lot of the underscore I'm gobsmacked that you are not completely and utterly blown away into a dimension of rare beauty by the main theme with full choir............. shocked shocked shocked
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorBhelPuri
    • CommentTimeMay 6th 2009
    Timmer wrote
    Christodoulides wrote
    Miya wrote
    NP: Casualties Of War - Ennio Morricone @ StreamingSonudtracks.com


    I could never get into that score, no matter how hard i tried. sad


    Though I can understand you not liking a lot of the underscore I'm gobsmacked that you are not completely and utterly blown away into a dimension of rare beauty by the main theme with full choir............. shocked shocked shocked


    Precisely! That choral cue is nothing short of stunning. That and the elegy theme. Excellent score and film!
    Have you seen the movie, Demetris?
    •  
      CommentAuthorDemetris
    • CommentTimeMay 6th 2009
    BhelPuri wrote
    Timmer wrote
    Christodoulides wrote
    Miya wrote
    NP: Casualties Of War - Ennio Morricone @ StreamingSonudtracks.com


    I could never get into that score, no matter how hard i tried. sad


    Though I can understand you not liking a lot of the underscore I'm gobsmacked that you are not completely and utterly blown away into a dimension of rare beauty by the main theme with full choir............. shocked shocked shocked


    Precisely! That choral cue is nothing short of stunning. That and the elegy theme. Excellent score and film!
    Have you seen the movie, Demetris?


    Yeah, i have;
    Love Maintitles. It's full of Wanders.
    • CommentAuthorTimmer
    • CommentTimeMay 6th 2009
    ...and?

    I demand that you give that first track another play. smile
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorBhelPuri
    • CommentTimeMay 6th 2009
    Christodoulides wrote

    Precisely! That choral cue is nothing short of stunning. That and the elegy theme. Excellent score and film!
    Have you seen the movie, Demetris?


    Yeah, i have;


    Dude! shocked
    That's a surprise! I'd think that anyone who sees the movie and gets moved by it will appreciate the score too. It's a great marriage of image and music.
    • CommentAuthorTimmer
    • CommentTimeMay 6th 2009
    NP : HANOVER STREET - John Barry



    cool

    James wave Have you received your package yet?
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  7. Mission: Impossible III (Michael Giacchino)

    I'm starting to like it a bit more than at first, the score doesn't do it to me like much of his amazing videogame work. This score compliments the movie well (as always Giacchino delivers in that fact), but I'll never grow to love this, it's too raw, too monotonous, especially the second part of the CD has a hard time to keep me interested. But that doesn't mean I don't like it somewhat though.
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
    •  
      CommentAuthorNautilus
    • CommentTimeMay 6th 2009
    Nobody plays Giacchino's Star Trek?????

    NP:Speed Racer (Giacchino)

    100 times better than his star trek score!!!!! beer beer beer
    •  
      CommentAuthorErik Woods
    • CommentTimeMay 6th 2009
    Nautilus wrote
    Nobody plays Giacchino's Star Trek?????


    Just you! You bought... cough cough... downloaded the only known copy!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    • CommentAuthorPanthera
    • CommentTimeMay 6th 2009
    DemonStar wrote
    I know it's time I get more Morricone scores tongue wink


    I love his score to The Good, The Bad, and the Ugly, as well as his score to Navajo Joe. Can't wait to hear more of his western scores. I've heard a couple themes in a western compilation, and I love them.

    NP: Casualties of War - Ennio Morricone

    Listening to this again because Miya reminded me of it. I've had it for a couple of years, but barely listened it. I'm enjoying the first track.
    •  
      CommentAuthorStavroula
    • CommentTimeMay 6th 2009 edited
    NP: Twilight ~ Carter Burwell
    Ok, ok I know! Most of you are rolling their eyes right now just like this rolleyes . It's certainly not his best, and I admit it's a bit monotonus at times but it's also thematically well structured, it's simple enough for my state of mind right now and I'm really in the mood of a dark love story right now! I think I need some adventure and a bit of dark possesive, love! I've been away toooo long it seems.... [spoiler]Don't tell my boyfriend! I don't like biting![/spoiler]
    Whatever you gaze rests on,do not use your vision, but the eyes of your soul...She knows better...
  12. NP: Superman Returns - John Ottman

    I think Ottman did a great job with this score. I mean, the shoes he had to fill, incredible. It would be a lot of pressure. In this score I find myself liking the pieces he wrote, better than the original theme - maybe because it's newer to my ears or maybe because the Superman theme has always my cell phone ringtone and my ears don't appreciate it like the used to. smile But the choir parts are beautiful in this score, very majestic, just like Superman should be. smile
    • CommentAuthorAnthony
    • CommentTimeMay 6th 2009 edited
    Nautilus wrote
    Nobody plays Giacchino's Star Trek?????


    We're playing it...I just get the feeling that a lot of people, including myself, are just left a bit cold by the end of it. The album doesn't flow well and it doesn't feel like it's telling a story. I'm afraid I'm unlikely to listen to it more until I've seen the movie.
  14. Miya wrote
    BhelPuri wrote
    Miya wrote
    NP: Azul Oscuro Casi Negro (Dark Blue Almost Black) - Pascal Gaigne


    I keep telling myself that I'll get this sometime soon. I must get it.


    It's really good... do you know anything else by Gaigne? I know nothing about him.

    Dark Blue Almost Black is one of my favourite Gaigne scores. I'd also recommend El Otro Barrio and Le Cou de La Girafe.

    As well as Le Cou de La Girafe there are additional tracks from a couple of his scores: Bertzea and Lepokoa that are worth hearing also:

    http://www.amazon.co.uk/Le-Cou-De-La-Gi … p;sr=103-1
    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
  15. Anthony wrote
    Nautilus wrote
    Nobody plays Giacchino's Star Trek?????


    We're playing it...I just get the feeling that a lot of people, including myself, are just left a bit cold by the end of it. The album doesn't flow well and it doesn't feel like it's telling a story. I'm afraid I'm unlikely to listen to it more until I've seen the movie.


    I will do the smart thing and watch the movie without any premature judgements, then listen to the score. That should put the music into its proper perspective. I wouldn't want to be disappointed by expecting something amazing. wink

    Filmscoregirl wrote
    NP: Superman Returns - John Ottman

    I think Ottman did a great job with this score. I mean, the shoes he had to fill, incredible. It would be a lot of pressure. In this score I find myself liking the pieces he wrote, better than the original theme - maybe because it's newer to my ears or maybe because the Superman theme has always my cell phone ringtone and my ears don't appreciate it like the used to. smile But the choir parts are beautiful in this score, very majestic, just like Superman should be. smile


    Oh, I like it too, of course nothing can touch Williams superscore, but Ottman did his best in recreating the adventurous spirit and heroics of the man of steel, and IMO he succeeded. And the choir parts you talk about do sound a lot like a certain composer's Brainstorm. I love that part whenever it appears...

    Lesbian Vampire Killers (Debbie Wiseman)

    The opening cue is incredibly haunting, yet I have a feeling I heard this theme before, but where? I cannot put my finger on it confused

    So far I like the sound of it all, thematic and dark, with nice vocals, just as I like it. But it doesn't strike me as being very original...
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
    •  
      CommentAuthorlp
    • CommentTimeMay 7th 2009
    Christodoulides wrote
    franz_conrad wrote
    lp wrote
    All the waltzing gets tiring after a while, you know.


    When he's the only one in Hollywood left who really seems to be able to do it, I'll keep lapping it up. wink

    I also think you under-appreciate the differences between a COCO and a CHERI. CHERI is this neoclassical score with lots of electronic effects and modern orchestrational devices. COCO is a bit like the Michel Legrand score that got away - more playful, simplistic, the themes are a bit more in the line of popular orchestral themes of mid-20th century. At least that's what went through my head when I heard it.

    But then Thomas Newman doesn't exactly do the same score again and again either. LITTLE CHILDREN and AMERICAN BEAUTY are about as dissimilar as he could have made them. As with Desplat, you can't get away from who wrote the music, but they're both cases where I wouldn't want to anyway.


    Word. No matter how i try to sympathize with such opinions, i feel like only someone who listens to Thomas Newman or Alexandre Desplat on the surface alone, will carry such a notion, i.e. that they're repeating themselves with the same tricks each and every time.


    Word. No matter how hard I try to not empathize with such opinion, I do have all the time in the world to sit down and critically listen to any album to just to determine that the composer I really like, is definitely, like, the most awesome composer of recent time.

    In all fairness, if I listen to an album the first time and I like what I hear (no matter how little I like in the album) then I'll go back for more. With Desplat however, I've tried, since I do enjoy his waltz, but he fails to maintain my interest level while listening to any of his album*.

    *BTW, for future clarification, I don't listen to scores as film music anymore, just as music. Unless I've seen the movie already.
    •  
      CommentAuthorlp
    • CommentTimeMay 7th 2009
    NP: The Soloist - Dario Marinelli

    It's a first listening for me. I'm not sure if I like this music for the fact that it's a classical-tinged score for a music-based film, or that there're actually some interesting stuff going on in here. Maybe both? The dark heavy string passages are pretty good. The symphonic portions are top notch and well executed. Though the use of that famous Bach's Prelude is completely uninspired. It's a great piece, but is completely overused by now. I'll come back to this album later.
  18. lp wrote
    *BTW, for future clarification, I don't listen to scores as film music anymore, just as music. Unless I've seen the movie already.


    Well you must have quite a bit of time on your hands to dive into Desplat then, because there's not much else that works as music anymore.
    A butterfly thinks therefore I am
  19. franz_conrad wrote
    lp wrote
    *BTW, for future clarification, I don't listen to scores as film music anymore, just as music. Unless I've seen the movie already.


    Well you must have quite a bit of time on your hands to dive into Desplat then, because there's not much else that works as music anymore.

    I'm not sure I understand, Michael. You mean that there's not much that's written today that's of merit away from the visuals?
    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
  20. FalkirkBairn wrote
    franz_conrad wrote
    lp wrote
    *BTW, for future clarification, I don't listen to scores as film music anymore, just as music. Unless I've seen the movie already.


    Well you must have quite a bit of time on your hands to dive into Desplat then, because there's not much else that works as music anymore.


    I'm not sure I understand, Michael. You mean that there's not much that's written today that's of merit away from the visuals?


    I'd like to be proven wrong, but I think the mix of Zimmerization, temp track retreading, and the fact that many young film composers know more about film music than music has all but guaranteed that. But it does save me money and make it easier to concentrate on the occasional quality work, so it could be a blessing in disguise. (Edit - and one can of course question how new a phenomenon this is too.)
    A butterfly thinks therefore I am
  21. franz_conrad wrote
    I'd like to be proven wrong, but I think the mix of Zimmerization, temp track retreading, and the fact that many young film composers know more about film music than music has all but guaranteed that. But it does save me money and make it easier to concentrate on the occasional quality work, so it could be a blessing in disguise. (Edit - and one can of course question how new a phenomenon this is too.)

    Usually I'm frustrated by my inexperience with music and the ability to apply a more in-depth analysis of film music (purely as a stand-alone listening experience) as well as just enjoy the music (and know why I'm enjoying it!)

    But at the moment I'm pleased that I'm more-or-less ignorant about all of that - there's a lot about that I'm enjoying (a lot of it tracks within CDs).

    There are a lot of us whose standards seem to be set quite high - and the majority of composers are not reaching those heady heights!!
    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
    • CommentAuthorTimmer
    • CommentTimeMay 7th 2009
    Nautilus wrote
    Nobody plays Giacchino's Star Trek?????

    NP:Speed Racer (Giacchino)

    100 times better than his star trek score!!!!! beer beer beer


    Break it down for me...100 times better seems an awful lot of times to me eh dear boy!?
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorlp
    • CommentTimeMay 7th 2009 edited
    franz_conrad wrote
    lp wrote
    *BTW, for future clarification, I don't listen to scores as film music anymore, just as music. Unless I've seen the movie already.


    Well you must have quite a bit of time on your hands to dive into Desplat then, because there's not much else that works as music anymore.


    confused Wow, I guess our conversation ends here? slant
  24. I probably should have put a wink in there, LP. It was meant to be a playful shot, not a parting shot. wink
    A butterfly thinks therefore I am
  25. FalkirkBairn wrote
    There are a lot of us whose standards seem to be set quite high - and the majority of composers are not reaching those heady heights!!


    There's plenty to enjoy on the fringes, but some pretty unworthy stuff has been elevated IMO. To be honest, I'd be surprised if many think another way. What I would usually say next is what % of the scores you have purchased lately come from recent films you haven't seen? wink
    A butterfly thinks therefore I am
  26. franz_conrad wrote
    FalkirkBairn wrote
    There are a lot of us whose standards seem to be set quite high - and the majority of composers are not reaching those heady heights!!


    There's plenty to enjoy on the fringes, but some pretty unworthy stuff has been elevated IMO. To be honest, I'd be surprised if many think another way. What I would usually say next is what % of the scores you have purchased lately come from recent films you haven't seen? wink

    biggrin
    I would say that >99% of the scores I have bought over the past few years are from movies I haven't seen

    I agree that there is a lot of talk of scores that are deemed to be "classic" that are not. It's the perennial problem with our genre: people are confused between what they like and what they think ranks with the truly great soundtracks.

    NP: Two For The Seesaw - André Previn (btw, I've not seen this film - and I don't want to either)
    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
  27. FalkirkBairn wrote
    franz_conrad wrote
    What I would usually say next is what % of the scores you have purchased lately come from recent films you haven't seen? wink

    biggrin
    I would say that >99% of the scores I have bought over the past few years are from movies I haven't seen

    ...

    NP: Two For The Seesaw - André Previn (btw, I've not seen this film - and I don't want to either)


    Recent meaning contemporary films. wink
    Attached question - what % of score albums you buy come from older films that you might or might not have seen, but where the composer brand name prompts the purchase? For many of us, that's the largest part! biggrin
    A butterfly thinks therefore I am
    •  
      CommentAuthorSteven
    • CommentTimeMay 7th 2009
    franz_conrad wrote
    I probably should have put a wink in there, LP. It was meant to be a playful shot, not a parting shot. wink


    So there's not going to be an internetz fight? What am I gonna do with all this popcorn!? angry
  29. franz_conrad wrote
    Attached question - what % of score albums you buy come from older films that you might or might not have seen, but where the composer brand name prompts the purchase? For many of us, that's the largest part! biggrin

    I've had a rough look through the last 100 titles I have bought:

    1930s - 2 titles => % movies seen - 0
    1940s - 1 title => % movies seen - 0
    1950s - 1 title => % movies seen - 0
    1960s - 10 titles => % movies seen - 20%
    1970s - 9 titles => % movies seen - 44%
    1980s - 13 titles => % movies seen - 23%
    1990s - 6 titles => % movies seen - 0
    2000s - 58 titles => % movies seen - 2%

    And I'd say that the majority of the titles I've bought are as a result of liking the clips, a few limited edition titles I wanted to try but felt that they would not be around for long - only Beltrami scores at the moment are ones that I would buy purely because of the name.
    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
    • CommentAuthorPanthera
    • CommentTimeMay 7th 2009
    Timmer wrote
    Nautilus wrote
    Nobody plays Giacchino's Star Trek?????

    NP:Speed Racer (Giacchino)

    100 times better than his star trek score!!!!! beer beer beer


    Break it down for me...100 times better seems an awful lot of times to me eh dear boy!?


    Well I haven't heard Star Trek, but Speed Racer is awesome! It would be hard to top that. I like the Speed Racer score more than most.

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