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[Closed] Now Playing XXXIII
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- CommentAuthorWilliam
- CommentTimeDec 18th 2009
NP: Harry Potter and the Half-Blood Prince - Nicholas Hooper
Another first listen.
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- CommentAuthorSouthall
- CommentTimeDec 18th 2009
franz_conrad wrote
Christodoulides wrote
It's not a secret that film music in the early stages 30-35 years after its birth was on general lines and with few exceptions - primarily escorting, strictly describing and underlining the on-screen happenings. Both its volume and musical character usually didn't have as bold, more independent and direct and 'look at me i'm here and i am demanding your attention' a character as - say, Horner and relevant film music approaches. I wholeheartedly agree with Southall on this one.
The film technique periodicals of the 1930s had exactly the same debates about how music works in film as we have today. Not a lot has changed since then.
I think it DID change, though, before largely changing back. It was certainly "intellecutalised" a bit in the 50s with Herrmann and North, followed to some extent or other by Goldsmith and Fielding etc (and of course the non-Hollywood composers) but then Star Wars started the journey back again, a journey accelerated by the Zimmerisation from the 90s onwards back to a very straightforward approach (from a dramatic point of view). -
- CommentAuthorlp
- CommentTimeDec 18th 2009
Christodoulides wrote
lp wrote
So it's like a Hans Zimmer score....
Quite enjoyable.
It's a very uninspired, bad ZImmer score.
For me, uninspired is Call of Duty: Modern Warfare 2. Sherlock Holmes is far from being uninspired. It combines some of the interesting elements that he's been working with for the last decade now, and raised it up a notch. It's an evolutionary derivative of his previous scores. That's pretty much the norm with any good composer though. -
- CommentAuthorTimmer
- CommentTimeDec 18th 2009
NP : CHINATOWN - Jerry Goldsmith
A true classic.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorSouthall
- CommentTimeDec 18th 2009
lp wrote
Christodoulides wrote
lp wrote
So it's like a Hans Zimmer score....
Quite enjoyable.
It's a very uninspired, bad ZImmer score.
For me, uninspired is Call of Duty: Modern Warfare 2. Sherlock Holmes is far from being uninspired. It combines some of the interesting elements that he's been working with for the last decade now, and raised it up a notch. It's an evolutionary derivative of his previous scores. That's pretty much the norm with any good composer though.
So why is it "evolutionary" when Zimmer does it and when Horner does it he gets knocked to high heaven? I don't get it. -
- CommentAuthorlp
- CommentTimeDec 18th 2009
Southall wrote
lp wrote
Christodoulides wrote
lp wrote
So it's like a Hans Zimmer score....
Quite enjoyable.
It's a very uninspired, bad ZImmer score.
For me, uninspired is Call of Duty: Modern Warfare 2. Sherlock Holmes is far from being uninspired. It combines some of the interesting elements that he's been working with for the last decade now, and raised it up a notch. It's an evolutionary derivative of his previous scores. That's pretty much the norm with any good composer though.
So why is it "evolutionary" when Zimmer does it and when Horner does it he gets knocked to high heaven? I don't get it.
I never said that. Zimmer's scores maybe similar to each other within genres, but they weren't the same exact passage with some minor musical bridge. Sherlock Holmes may have musical elements like instrumentation and thematic elements that were derived from As Good As It Gets and Matchstick Men and At World's End, but it's still a different score.
In regard to Avatar, I'm disappointed because it's so apparent to me that the only new parts in that score were materials inspired by the temp track. -
- CommentAuthorNautilus
- CommentTimeDec 18th 2009
lp wrote
Southall wrote
lp wrote
Christodoulides wrote
lp wrote
So it's like a Hans Zimmer score....
Quite enjoyable.
It's a very uninspired, bad ZImmer score.
For me, uninspired is Call of Duty: Modern Warfare 2. Sherlock Holmes is far from being uninspired. It combines some of the interesting elements that he's been working with for the last decade now, and raised it up a notch. It's an evolutionary derivative of his previous scores. That's pretty much the norm with any good composer though.
So why is it "evolutionary" when Zimmer does it and when Horner does it he gets knocked to high heaven? I don't get it.
I never said that. Zimmer's scores maybe similar to each other within genres, but they weren't the same exact passage with some minor musical bridge. Sherlock Holmes may have musical elements like instrumentation and thematic elements that were derived from As Good As It Gets and Matchstick Men and At World's End, but it's still a different score.
In regard to Avatar, I'm disappointed because it's so apparent to me that the only new parts in that score were materials inspired by the temp track.
Are you my sister in law?:P -
- CommentAuthorSouthall
- CommentTimeDec 18th 2009
lp wrote
I never said that. Zimmer's scores maybe similar to each other within genres, but they weren't the same exact passage with some minor musical bridge. Sherlock Holmes may have musical elements like instrumentation and thematic elements that were derived from As Good As It Gets and Matchstick Men and At World's End, but it's still a different score.
Replace "Zimmer" with "Horner" and the names of the scores and you've just described Avatar. Don't see why it's good for one of them to do it, and bad for the other. -
- CommentAuthorlp
- CommentTimeDec 18th 2009
Nautilus wrote
lp wrote
Southall wrote
lp wrote
Christodoulides wrote
lp wrote
So it's like a Hans Zimmer score....
Quite enjoyable.
It's a very uninspired, bad ZImmer score.
For me, uninspired is Call of Duty: Modern Warfare 2. Sherlock Holmes is far from being uninspired. It combines some of the interesting elements that he's been working with for the last decade now, and raised it up a notch. It's an evolutionary derivative of his previous scores. That's pretty much the norm with any good composer though.
So why is it "evolutionary" when Zimmer does it and when Horner does it he gets knocked to high heaven? I don't get it.
I never said that. Zimmer's scores maybe similar to each other within genres, but they weren't the same exact passage with some minor musical bridge. Sherlock Holmes may have musical elements like instrumentation and thematic elements that were derived from As Good As It Gets and Matchstick Men and At World's End, but it's still a different score.
In regard to Avatar, I'm disappointed because it's so apparent to me that the only new parts in that score were materials inspired by the temp track.
Are you my sister in law?:P
Ewwwwwwwwww you're disgusting.........
Spiritual Bizarro Twin ?
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- CommentAuthorNautilus
- CommentTimeDec 18th 2009 edited
NP:Sherlock Holmes (Hans Zimmer)
"it is poison , Nanny?" is a declicious suspens track!
"i never Woke up..." the crazy track.
"data, data, data" is a playful piece about seduction
"My mind rebels..." contains a really touching dramatic statement.
"martial Sabotage" a splendid action track
"Panic,Shear.." The main theme statement before the big action piece.
"psycological Recovery..." the big action piece
. And one of Zimmer's best compositions.
The track titles are in blue because the avatar day. -
- CommentAuthorlp
- CommentTimeDec 18th 2009
Southall wrote
lp wrote
I never said that. Zimmer's scores maybe similar to each other within genres, but they weren't the same exact passage with some minor musical bridge. Sherlock Holmes may have musical elements like instrumentation and thematic elements that were derived from As Good As It Gets and Matchstick Men and At World's End, but it's still a different score.
Replace "Zimmer" with "Horner" and the names of the scores and you've just described Avatar. Don't see why it's good for one of them to do it, and bad for the other.
You forgot to quote this.
In regard to Avatar, I'm disappointed because it's so apparent to me that the only new parts in that score were materials inspired by the temp track.
Sherlock Holmes has crazy violin and cello soli and wacky instrumentations and themes that, while in similar styling to Matchstick Men, is still fresher than what James Horner came up for Avatar in the 18 months that he worked on it. -
- CommentAuthorPawelStroinski
- CommentTimeDec 18th 2009
Zimmer worked 7 months on this one.http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentAuthorMarselus
- CommentTimeDec 18th 2009
So, in almost two years (Avatar + Sherlock Holmes) they´ve produced a couple of good (but nothing more) scores!Anything with an orchestra or with a choir....at some point will reach you -
- CommentAuthorTimmer
- CommentTimeDec 18th 2009
NP : HEAVY METAL - Elmer Bernstein
Truly MAGNIFICENT! Great themes, variety, huge choral moments written by someone who can actually write for choir....sublime!!!
On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorlp
- CommentTimeDec 18th 2009
NP: Glee - "Don't Stop Believing" - Glee Cast
Deliciously effervescent and ebullient and infinitely catchy. -
- CommentAuthorlp
- CommentTimeDec 18th 2009
PawelStroinski wrote
Zimmer worked 7 months on this one.
On an off though. Cause he's started work on Inception already. -
- CommentAuthorNautilus
- CommentTimeDec 18th 2009
PawelStroinski wrote
Zimmer worked 7 months on this one.
how you know that? -
- CommentAuthorlp
- CommentTimeDec 18th 2009
Nautilus wrote
PawelStroinski wrote
Zimmer worked 7 months on this one.
how you know that?
The audio interview. Check out link in the Hans Zimmer thread. It's the one you couldn't hear. -
- CommentAuthorEric
- CommentTimeDec 18th 2009 edited
Jesse Stone : Stone Cold - Jeff Beal
I like Tom Selleck and I love the Jesse Stone TV movies . I think Tom is an excellent actor , but unfortunately Tom has dropped out of main stream movies like many actors/actresses of his generation . Stone Cold is a very laid back type of score . I especially love 'Jesse's Theme' . This one is perfect to play while you have to do some deskwork or just need to relax ..."Simplicity is the key to brilliance" -
- CommentAuthorTimmer
- CommentTimeDec 18th 2009
NP : THE FURY - John Williams
Oh boy!On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorDemetris
- CommentTimeDec 18th 2009
Southall wrote
franz_conrad wrote
Christodoulides wrote
It's not a secret that film music in the early stages 30-35 years after its birth was on general lines and with few exceptions - primarily escorting, strictly describing and underlining the on-screen happenings. Both its volume and musical character usually didn't have as bold, more independent and direct and 'look at me i'm here and i am demanding your attention' a character as - say, Horner and relevant film music approaches. I wholeheartedly agree with Southall on this one.
The film technique periodicals of the 1930s had exactly the same debates about how music works in film as we have today. Not a lot has changed since then.
I think it DID change, though, before largely changing back. It was certainly "intellecutalised" a bit in the 50s with Herrmann and North, followed to some extent or other by Goldsmith and Fielding etc (and of course the non-Hollywood composers) but then Star Wars started the journey back again, a journey accelerated by the Zimmerisation from the 90s onwards back to a very straightforward approach (from a dramatic point of view).
I certainly agree. It's not the same anymore, today film music requires your attention, grabs you directly and in your face, it's full of attention-grabbing themes and harmonies that are easy to digest and memorable, less romantic era, less programme music, more pop / rock oriented (in core, not instrumentation-wise).Love Maintitles. It's full of Wanders. -
- CommentAuthorDemetris
- CommentTimeDec 18th 2009 edited
Marselus wrote
So, in almost two years (Avatar + Sherlock Holmes) they´ve produced a couple of good (but nothing more) scores!
Not quite. AVATAR is a vastly better score but i don't see why we're comparing them
Love Maintitles. It's full of Wanders. -
- CommentAuthorfranz_conrad
- CommentTimeDec 18th 2009
Christodoulides wrote
Southall wrote
franz_conrad wrote
Christodoulides wrote
It's not a secret that film music in the early stages 30-35 years after its birth was on general lines and with few exceptions - primarily escorting, strictly describing and underlining the on-screen happenings. Both its volume and musical character usually didn't have as bold, more independent and direct and 'look at me i'm here and i am demanding your attention' a character as - say, Horner and relevant film music approaches. I wholeheartedly agree with Southall on this one.
The film technique periodicals of the 1930s had exactly the same debates about how music works in film as we have today. Not a lot has changed since then.
I think it DID change, though, before largely changing back. It was certainly "intellecutalised" a bit in the 50s with Herrmann and North, followed to some extent or other by Goldsmith and Fielding etc (and of course the non-Hollywood composers) but then Star Wars started the journey back again, a journey accelerated by the Zimmerisation from the 90s onwards back to a very straightforward approach (from a dramatic point of view).
I certainly agree. It's not the same anymore, today film music requires your attention, grabs you directly and in your face, it's full of attention-grabbing themes and harmonies that are easy to digest and memorable, less romantic era, less programme music, more pop / rock oriented (in core, not instrumentation-wise).
This is more a reply to Southall's post, but my point would be that if you look at something like Adorno and Eisler's writing on film music - as early as 1940 - they're talking about how film music should be less about greasing the rails emotionally for an audience (which is what Horner does, to me), and more about bringing new perspectives to the picture (which can be psychological, etc). They mention Steiner in the pejorative and praise the (now forgotten) Sylvestre Revueltas in this discussion.A butterfly thinks therefore I am -
- CommentAuthorjustin boggan
- CommentTimeDec 18th 2009
"The Sandlot"
David Newman
Once again using an illegally uploaded YouTube video, to make a tracklist for the boot, because there is no VCR access here, and I can't rely on TV because I hae to stop and start and search for tracks when stuff is not in order. Made a tracklist for half the CD-R before running out of the movie to watch (not all loaded up to YT yet).
Still a fun movie, and a good score by Newman (but doesn't have an over-all coherency).The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else. -
- CommentAuthorPawelStroinski
- CommentTimeDec 18th 2009
franz_conrad wrote
Christodoulides wrote
Southall wrote
franz_conrad wrote
Christodoulides wrote
It's not a secret that film music in the early stages 30-35 years after its birth was on general lines and with few exceptions - primarily escorting, strictly describing and underlining the on-screen happenings. Both its volume and musical character usually didn't have as bold, more independent and direct and 'look at me i'm here and i am demanding your attention' a character as - say, Horner and relevant film music approaches. I wholeheartedly agree with Southall on this one.
The film technique periodicals of the 1930s had exactly the same debates about how music works in film as we have today. Not a lot has changed since then.
I think it DID change, though, before largely changing back. It was certainly "intellecutalised" a bit in the 50s with Herrmann and North, followed to some extent or other by Goldsmith and Fielding etc (and of course the non-Hollywood composers) but then Star Wars started the journey back again, a journey accelerated by the Zimmerisation from the 90s onwards back to a very straightforward approach (from a dramatic point of view).
I certainly agree. It's not the same anymore, today film music requires your attention, grabs you directly and in your face, it's full of attention-grabbing themes and harmonies that are easy to digest and memorable, less romantic era, less programme music, more pop / rock oriented (in core, not instrumentation-wise).
This is more a reply to Southall's post, but my point would be that if you look at something like Adorno and Eisler's writing on film music - as early as 1940 - they're talking about how film music should be less about greasing the rails emotionally for an audience (which is what Horner does, to me), and more about bringing new perspectives to the picture (which can be psychological, etc). They mention Steiner in the pejorative and praise the (now forgotten) Sylvestre Revueltas in this discussion.
THAT Adorno? The "Minima Moralia", "Dialectics of Enlightement" Adorno?? Are his text on film scoring available online?http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentAuthorfranz_conrad
- CommentTimeDec 19th 2009
The very same. The book he wrote with Eisler - who went on to write some fine scores himself - can probably be found in most university libraries.A butterfly thinks therefore I am -
- CommentAuthorPawelStroinski
- CommentTimeDec 19th 2009
Not here. I have to read Adorno... Right now I am reading an amazing Bauman book "Modernity and Holocaust".http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentAuthorjustin boggan
- CommentTimeDec 19th 2009
"In Search of Peace"
Lee Holdridge
If you don't have this 2CD set from Intrada Records (sold out, though SAE has it "limit one per customer"), you're making a mistake.The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else. -
- CommentAuthorAnthony
- CommentTimeDec 19th 2009
Then I'm a bit stuck then aren't I.
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- CommentAuthorjustin boggan
- CommentTimeDec 19th 2009
Yes. Don't let this one slip by you.The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.