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I think you over-estimate how much of spotting is the composer's opinion! Many of them say they'd be happy to do less music for the films.

Anyway:
1. We know what Annaud wanted for ENEMY AT THE GATES, as the deleted scenes on the DVD all feature THE THIN RED LINE as temp score. Horner sure nailed that sound.
2. I was referring to the allegation that Horner's theme for Tanya is too close to the theme from SCHINDLER'S LIST.

NP: Ladies in Lavender - Nigel Hess

One 2005's best efforts. A perfect score for this fine Saturday morning as I watch my daughter roll around the floor making one attempt after another to crawl!

-Erik-

Butterfly Effect has one of the most overwhelmingly tragic pieces I've ever heard, "Kayleigh's Funeral."

Absolutely beautiful music. Shame he didn't do anything else, at least in this league, after it.

I love Doyle's Great Expectations!

Red Bull Day!

I was Playing : Speed 2 (Mancina)

I always loved two things from this score: the main theme (wich is a re-make of the original main theme) and the caribbean theme (great to listen in Summer! ). Both things really works.

"Fox Fanfarre/motorcycle chase" I didn't remember those electric guitars from the old promo. I simply love this cue Gosh!!!! And the little apparition of the original speed theme is simply fantastic.


I appreciate that Mancina wanted a more orchestral approach, but it's far from the textures of Speed 1 and it's not so "symphonic" than Twister.

Anyway, I want Zimmer guys composing this kind of guilty pleasures again! enough of King Arthur clones!

NP: Con Air ( Mancina and Rabin)

it's 13 years since my last listening...

Wow. This score deserves a better consideration!!!

it's wild, thematic and self parodic. All the elements are very well integrated.

the last true Media Ventures score. And the first apparition of Trevor Rabin.

To me the allegiations are pretty wrong. I think both composers referred to Mahler's 8th Symphony and Horner is even closer to the original source by preferring alternate thirds rather than Williams's use of alternate fifths.

I don't think it's generic or schmaltzy. I think it's one of Williams's best themes of the 1990s, definitely, except Schindler's list, my favorite.

The beauty of irony is that the allegations don't have to be right for the present reference to be ironic, they only need to exist.

As a composer his most inspired original piece without question was Jaws.

What is up with Zimmer fans not liking King Arthur? When the score first came out, Clemmensen wrote that it was like a continuation of the classic Zimmer style that began with Crimson Tide, only pumped up on (even more) testosterone. I agree with that sentiment, and I think it's absolutely fabulous score precisely because it includes massive portions of every trick in Zimmer's book.

Been a while since I played King Arthur, but I remember enjoying it. Thanks for mentioning it, I'll go and play it again.

Peter

There is something like compositional development. I don't want intelligence in a Bruckheimer-scored movie, but look at what HGW did with Prince of Persia. TTRL made Hans a bit more complex. He also did Peacemaker before. I just don't like when a composer writes the whole orchestra in unison I guess.

But I do notice that it's another minor change for Zimmer too, that's where he developed his minor ostinatos which eventually led to pieces like Chevaliers de Sangreal. He stopped half-way and made something way too simplistic for my tastes. I also hoped that the choir overload would be a kind of test ground for Kingdom of Heaven, but he ultimately didn't score that movie.

Harry Gregson-Williams - Man on Fire

One of his very best scores. Emotional, uncompromising, riveting. His best score as heard in film for sure. It works better than Spy Game to me. It also helps that the movie is so wonderful. Even if I have lots of sentiment and love for Crimson Tide, Man on Fire is Tony Scott's best, the whole technical uncompromising experiment.

I saw the movie with director's commentary recently and I did get the point that the whole brutal, graphic chaos we get in the second half of the movie, when Creasy goes all revenge, is just putting everything in his mindset, Tony spoke a lot of all techniques done there, how he used different stock for all cameras and a digital camera and how he mingled with the editing, having three editors cutting different scenes. Tony Scott just showed that an action movie can be pure arthouse. Sometimes he tends to overload his movies with style over substance (never seen Domino, but the reviews were plain awful for it). This time, style IS part of the substance. Every decision here was made for purely emotional reasons and to make it a movie about extremes, as Tony Scott calls it. The score just works wonders, gets even deeper into the character's mind. Scott says that HGW was in an emotionally difficult situation then, so it all transpired to this uncompromising piece of art.

What I mean is just he could give a bit more there than he eventually did. It's a step back of his career, as simple as that.

Yeah, I've been wanting to write a historical epic of my own (first crusade) as a polemic with Scott's movie.