MARC STREITENFELD

But Scott is not stupid, Demetris. It's not like this guy Mark Streitenfeld suddenly fell into his lap like a stray cat and Ridley felt compelled to care for it even if it didn't do him any good. If Scott had not liked what he had done for his first film, he would have ended the collaboration right then and there. There's obviously SOMETHING there that he connects to. Scott has always experimented with different composers, and this is no different. I like to evalute a composer's work based on the actual work, not on what he has done before or even if he was pulled right up from his mom's basement.

...and by actual work, I obviously mean ACTUAL WORK, not his Curriculum Vitae.

please, that's not a reference

Or Randy Edelman on The Mummy 3. Or Klaus Badelt of Pirates of the Caribbean. Or Vangelis on Alexander.

-Erik-

I was just reminded of the amusement I felt at Vangelis's attempts to score historical epics! (Lovely albums, though.)

That's probably why.

I haven't seen The Bounty - I was only really thinking of 1492 and Alexander. Not great films anyway (to put it mildly), but neither had any chance at all with those scores.

Nah. They work beautifully. Both are highly stylized films that benefit from his moody synthscapes. I think both THE BOUNTY and 1492 are highly underrated as FILMS as well.

Count yourself lucky!

(The other Columbus film from the same time was even worse though. Can't remember its name.)

I'd say GREAT albums, the man has a touch for that kind of music; not too sure about film music however, although 1492 worked very good in the messy film.

and made all the crew hate him

It is so immersing, indeed. The way Scott PULLS us in the film's word (which is something he achieves even in his lesser movie - he's just the master of the first shot)

The first trailer for Ridley Scott´s Robin Hood is online, and if it´s any indication of what to expect from the score, I already know what certain people will say about it. Only this time, I´ll probably agree. I found the hard rock approach to be a fitting stroke for Iron Man, and 300 was agreeable because it was kind of stylish and new, but this is sacrilegious and definitely not what I want from an Hood movie. The visuals are great, as was to be expected, but this choice of music sucks big time. When I heard Streitenfeld was going to do it and saw that he got a lot of sighs from this board, I stood up against that and gave that choice the benefit of the doubt, because I thought he might do things differently than usual, but this trailer leaves me worried indeed, and I have to apologize to you, guys. I really, really hope Streitenfeld will incorporate at least some classic orchestral stuff where it belongs; should that happen, I think I can live with it, as I lived with what they did to Ladyhawke because of the beautiful orchestral moments, but honestly, this is over the edge even for me.

Don´t get me wrong here. I know this is only the trailer, and we could still be in for a big surprise, but I think the trailer transcends what Scott wants the movie to be (if not, we´re all wrong anyway). And I´m all for breaking conventions; it´s just that it has already been done, including the examples you mentioned, and thus it is slowly getting conventional to go against convention, if you get what I mean. It´s hardly original anymore. I agree that what we´re used to hear in Robin Hood movies isn´t exactly fitting for a 12th century movie at all, but I thought parts of the Kingdom of Heaven score did a nice job to at least honour the musical legacy of that time. Maybe Scott was afraid his Robin Hood would be seen as just another Kingdom of Heaven, and wanted to seperate them from each other as best as he could (though in my mind, RH is already a kind of sequel to KoH, not only because of the timeframe).

I´m open to new things, as most of you know, and I loved, for example, very much what Clannad did with Robin of Sherwood. But I´m too much a RH geek to not feel a headache building up while watching the trailer. Believe me, I want this movie to be great, and to be a great hit, too. I just doubt that going electric will do the trick for me. On the other hand, the overall reaction on the trailer site seems to be good. Maybe the time is right for an all-out "bad ass" RH. We´ll just have to wait and see. And listen.

Did he have anything to do with the choice of music in the trailer? It sounds more like the studio used the rock thing just to make it clear that protagonist is a bad-ass protagonist. I mean, chances are slim for a teenage movie-goer to consider a movie bad-ass upon hearing some majestic, heroic orchestral fanfare at this time and date after all. Reading some of those comments on that page, it seems it did its job well on that ground.