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I've heard a pretty atrocious edit from one of the bootlegs, so I always include the album version which seems fine to me? Now I'm really confused. I either don't notice these things as much as others, or they don't really bother me as much as others (probably both).

You're lucky either way. The main title and opening sequence cue has also pretty blatant cuts.

In my defense I only listen to (one of) the bootleg versions of the opening battle music. Edits or not, works for me.

We also had a page long discussion about JNH in the Powell thread.

It's called the ignore topic.

Kevin created the topic and called it RC topic when I specifically said that I want to ignore RC there

I was quoting an opinion from a composer working in Hollywood, not A-list though.

That's why he's not a-list. Having such opinions

And outside of the "because Djawadi is crappy" stuff. I guess Orvarsson would make it sound slightly worse, even if I think of him as one of the biggest promises in the whole group.

Demetris...I'm really surprised that you wrotte this. Seriously.... I think it's the first time that I could say this about you.

GORAN BREGOVIC - the time of the gypsies

One of the most studied films in the Balkan and wider European cinema, dressed with grace and warmth by one very special composer. I re-watched this looooooong movie lately and discussed parts of it at the college; it all reminded me how great an emotional impact it made when i first viewed it. Surely a singular work in all aspects.

Well, about Prince of Persia, I need to confirm it, but there is a rumor that Zimmer wrote a "main theme" for it.

But seriously, look at what we see.

Powell is definitely a voice coming out of Zimmer's "school". So is HGW. We can agree about his output or not (Prince of Persia is his best score since Kingdom of Heaven to me, but it is still a bit too derivative of his other adventure scores for me to be all over it, it's about the 4-5th score where the string action motif from Battle of Kerak appears and that I don't like, also the electronica moments).

So there come the good composers. Mancina is underrated, because nobody knows that he CO-CREATED the MV sound of today. I have a theory that really, the three defining scores to the sound are Crimson Tide (Hans), Bad Boys (Mancina) and The Rock (Zimmer merely contributed two themes and some rearrangements, he himself states that it's a "Nick (Glennie-Smith) score"). So these three names are responsible for the most seminal use of the sound called MV/RC style. Zimmer reinvented himself once in a while, that's all. I won't discuss Rabin here, the poor guy can say that he has nothing to do with RCP and he will still be regarded as such.

Anyway, the thing is: Badelt, Powell and HGW eventually left RCP, but only when their careers weren't doing so bad, with the exception of Badelt, who had to run to Europe to get both ANY projects and GOOD projects. Possibly, some bad-mouthing from the HZ side of things happened, I don't know. Powell and HGW branched out when their careers were on rather good level after HGW taking Tony Scott over from Hans, who had a scheduling conflict on Enemy of the State (overworking on TTRL) and Powell mostly thanks to his animation scoring. Another thing that helped HGW branch out was his collaboration with Andrew Adamson, for whom he did one of the Shrek scores and later both Narnias.

Enough of the "history", back to the point:

A Jablonsky piece for a Zimmer score is better than a Jablonsky solo score. This happens with most of RC composers. The question is why is that? Why suddenly do they get worse on their own? And this is a rather general fact happening, I'm afraid.

I love you , Pawel.