[Closed] Now Playing XXXIV

I think that it's endemic to their musical background, how certain things get repeated. Though I'm definitely of the mindset that Horner is more lazy than not.

The apparent lack of irony in the above post, considering what was said in the one above it, is quite amusing.

I agree about Bernstein.
With Horner, I don't think I'm responding to any direct lifts in NATTY GANN, just a general sense of being able to guess where the music goes next, being a bit too familiar with the style Horner writes in in general to enjoy new material.
The mode it's written in - bold-yet-folky Americana - isn't quite my favourite genre either. I like the gentler tracks, but the more strident ones just don't move me.

(BTW, I know it's ironic that I find Desplat's stuff tirelessly interesting, even though he has a sound as much as the next guy. )

Absolutely fantastic. One of those scores that elevates the movie it accompanies to great levels. Even the people who're not usually into film music, i am sure, they were even subconsciously, moved (in different ways yes) by the kind and presence of music in that film.

I really don't want to start/get into, another conversation about Horner. Here's what I'll say.

Yes, we clearly have a different definition of lazy. I find it sad that Horner is still reusing the same passages from 10-20 years ago and it's not lazy. While you can fault Zimmer (in Gladiator) for using the sound (via orchestration/arrangement, mind you, while not literally reusing the same passage of music with additional instrumentation on top) that he's only "evolved" into from 5-6 years prior. There's a difference between revisiting the same sound and writing style versus taking the same themes/passages and arranging/orchestrating something passably new.

Okay, let's take Zimmer away from the conversation.

Listening to James Horner it's like having the same cut of New York Sirloin being cooked 20 ways, versus having different cut of steak being cooked different way. Me, I can eat any kind cut of steak, but after a while, you prefer the latter method. And I know you can understand me, Southall. Horner is lazy, and Zimmer can be lazy, but considering what we were talking about, Horner is still lazy the way you can hear that he cut and paste things, add spices and pass it off as new. Zimmer does have his sound that you can clearly identify, but his Gladiator score doesn't share the same theme, the same passage, as The Peacemaker or Crimson Tide nor Muppet Treasure Island, or Prince of Eqypt. They do share certainly similarity in orchestration, sound wise, but that's not what we're really talking about here.

And that's all I'll say about this.

I still don't know why I'm typing this. I need to go spend sometime with my baby instead. Later.

Marco Polo - Ennio Morricone

What a wonderful soundtrack! There are so many themes and such beautiful melodies. Definitely one of his bests.

NP: The Wolfman - Elfman

Nice n dark!

And the last score I hear at home for now as I'm soon off on my cruise around New Zealand! Bon voyage!

I love learning new words!

In that occasitivity, I would strongly prepost to just redand close to me, and you might edifiluminate some things!

You go wash out your mouth with soap, young man.

IInterestingly that sort of remark can actually get you arrested in Turkey, where Atatürk is revered on a nigh-godhood level.

I've always maintained that Giacchino took a lot of his action music cues (pun intended ) from Williams. I was really hoping after the magnificent Secret Weapons Over Normandy we might see the successor of John Williams, but unfortunately (for me at least) at least the more melodic side of Giacchino's talent remains too underused.

I realize it's due to the demands of modern day film scoring, but I'd dearly love to hear some symphonic themes from him! Something on a "Raider's March"or "Princess Leia's Theme" level.
I remain convinced he's the currently the best bet among young film composers to pull something like that off (if he should ever get the chance).

I also held out that hope for him (and still do) but actually, I've found that side of him to be surprisingly absent. I know it's not always easy to put that kind of theme into a score these days, but he did have chance in Star Trek and, while the theme's good, it's hardly on the level of those two you mention.