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[Closed] Now Playing XLIII
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- CommentAuthorTimmer
- CommentTimeSep 8th 2012 edited
Re: Hawaii 5.0
Yes, I posted that video on some thread somewhere at this board a few years ago.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentTimeSep 8th 2012
Yeah, but now we know it's legitimate. It's different from some guy just writing pyrics to a theme after the fact, than somebody writing lyrics to a theme when it was created.The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else. -
- CommentAuthorfranz_conrad
- CommentTimeSep 8th 2012
PawelStroinski wrote
I've heard that it was Zimmer who was slated to score 1492.
And Barry was better off not scoring for Ridley... He'd get the Goldsmith treatment. Ridley is and was after a very specific sound, Vangelis got it, Hans got it, Goldsmith could too, if you compare the original and the final main title from Alien. The final piece has the pure "Ridley Scott" sound, really.
You might be confusing the Terry Rawlings sound for the Ridley Scott sound insofar as it comes to ALIEN.A butterfly thinks therefore I am -
- CommentAuthorPawelStroinski
- CommentTimeSep 8th 2012
Yeah, Ridley gives a lot of credit to Rawlings in the Blade Runner making-of, but there is a general preference towards atmospheric music with Scott.http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentTimeSep 8th 2012
Timmer wrote
I heard nothing about Zimmer supposedly being offered it, film music magazines at the time had John Barry slated to score it. I believe you're right to suggest Barry was better off not scoring it, it's still a shame though as it's the kind of picture Barry would have nailed.
By the way, here's the John Barry scored Ridley Scott commercial...
1992 OLYMPICS
I think it's lovely, very Dances With Wolves-ish.
Barry was called and asked to score it, but that was it -- they never got back with him.
Zimmer signed on to score the film, as he stated in an interview during that time. I have no idea what happened beyond that with Zimmer.
Oddly enough, Barry was also the third person on "Dances With Wolves".
http://www.rejectedfilmscores.150m.com/ … ected.htmlThe views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else. -
- CommentTimeSep 9th 2012
Demetris wrote
And because some douche calls your favorite composer (and his camp) talentless hacks you have to fall on their level and call exactly the same someone else? It's pathetic. Stop it my friend. End of discussion of my part...
:like:'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn -
- CommentAuthorTimmer
- CommentTimeSep 9th 2012
franz_conrad wrote
PawelStroinski wrote
I've heard that it was Zimmer who was slated to score 1492.
And Barry was better off not scoring for Ridley... He'd get the Goldsmith treatment. Ridley is and was after a very specific sound, Vangelis got it, Hans got it, Goldsmith could too, if you compare the original and the final main title from Alien. The final piece has the pure "Ridley Scott" sound, really.
You might be confusing the Terry Rawlings sound for the Ridley Scott sound insofar as it comes to ALIEN.
I wonder what Tomita would have come up with?On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentTimeSep 9th 2012
SNOW WHITE AND THE HUNTSMAN - James Newton Howard
JNH is an interesting character these days. There's been a big fan backlash against his music of the last couple years. I understand it, but I'm not sure it's fair. I don't think you can call him lazy, either, because I think he has delivered what directors have asked. If you read the liner notes from some of his albums the directors just gush over what he's created, and how well it built the world of the film they were trying to make. He has gotten some really high profile projects lately, and I think he's done fine with them. Sure they're all a step down from his best scores, but there are really great moments in them, and in general I think they are well composed and fit the films they accompany very well. THE TOURIST wasn't great, but it was very good for the film. HUNGER GAMES was the same way, and it did have a very nice track or two. SNOW WHITE is a pretty good score, imo, and the first 5 min. or so of "White Hart" are GORGEOUS. I also thought WATER FOR ELEPHANTS was quite good with some really lovely music in the first half of the album. All that said, I still think that Howard has it in him to write amazing scores and he seems to have been given plenty of chances lately to do that, but hasn't. So I can see why people have been disappointed, but I think we've been a little over-harsh on his recent output. -
- CommentTimeSep 9th 2012
Well, somebody can hire you to carve a statue for their yard. You can carve a cheap, easy, ugly nome, or you can deliver the Statue of David. One's lazy, the other requires effort. Both delivered what was asked.The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else. -
- CommentTimeSep 9th 2012 edited
PawelStroinski wrote
And if you ever wondered when did my hatred for Tyler's body of work start, it was a score you are in love with, actually. AVP: Requiem. To me it's utter shite and I'd have Tyler very fired from that one after hearing a single demo. Because it has NO substance at all. It's a nicely orchestrated nothing. That's what his music is for me and, really, the man himself. I think film music would be way better off without ever appearing Brian Tyler in it.
honestly Pawel, I am no fan of Tyler at all, but I recently listened to AVP: Requiem (a score I once hated), and I wrote this about it
Alien vs. Predator: Requiem is a massive action score that has one amazing advantage, between literally 60 minutes of non stop balls to the walls music, Tyler unleashes direct statements of both Horner's and Silvestri's work, as a tribute for their work on these films. Sadly, he needed to put it into balls to the walls action music which is 60 to 80 minutes long.
ps, full review coming soonwaaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh -
- CommentAuthorTimmer
- CommentTimeSep 9th 2012
So sir, would you like the sixty minute headache or the 80 minute one?On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentTimeSep 9th 2012
christopher wrote
SNOW WHITE AND THE HUNTSMAN - James Newton Howard
JNH is an interesting character these days. There's been a big fan backlash against his music of the last couple years. I understand it, but I'm not sure it's fair. I don't think you can call him lazy, either, because I think he has delivered what directors have asked. If you read the liner notes from some of his albums the directors just gush over what he's created, and how well it built the world of the film they were trying to make. He has gotten some really high profile projects lately, and I think he's done fine with them. Sure they're all a step down from his best scores, but there are really great moments in them, and in general I think they are well composed and fit the films they accompany very well. THE TOURIST wasn't great, but it was very good for the film. HUNGER GAMES was the same way, and it did have a very nice track or two. SNOW WHITE is a pretty good score, imo, and the first 5 min. or so of "White Hart" are GORGEOUS. I also thought WATER FOR ELEPHANTS was quite good with some really lovely music in the first half of the album. All that said, I still think that Howard has it in him to write amazing scores and he seems to have been given plenty of chances lately to do that, but hasn't. So I can see why people have been disappointed, but I think we've been a little over-harsh on his recent output.
Excellent score, one of the bests this year. Loved the movie too. (snow white)Love Maintitles. It's full of Wanders. -
- CommentAuthorTimmer
- CommentTimeSep 9th 2012
NP : THE BLUE MAX - Jerry Goldsmith
Now THIS is film music. BRILLIANT!On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentTimeSep 9th 2012
So true Tim, so true!
I think I'll put it on now myself! -
- CommentAuthorTimmer
- CommentTimeSep 9th 2012
On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentTimeSep 9th 2012
Timmer wrote
So sir, would you like the sixty minute headache or the 80 minute one?
Tyler's AVP: Requiem is the film music equivalent of a severe migraine headache!
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentTimeSep 9th 2012
Timmer wrote
NP : THE BLUE MAX - Jerry Goldsmith
Now THIS is film music. BRILLIANT!
FACT!!!
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentTimeSep 9th 2012
Been listening to various diverse scores again today. From Bram Stoker's Dracula to P.S. I Love You, to Pride and Prejudice to Indiana Jones and The Last Crusade! I know... a complete windmill!
RNP: Kingdom of Heaven ~ HGW
And it's heaven alright!Whatever you gaze rests on,do not use your vision, but the eyes of your soul...She knows better... -
- CommentAuthorTimmer
- CommentTimeSep 9th 2012
Erik Woods wrote
Timmer wrote
So sir, would you like the sixty minute headache or the 80 minute one?
Tyler's AVP: Requiem is the film music equivalent of a severe migraine headache!
-Erik-
It is! But at least with the Tyler score you can turn it off* and play something else.
*better still to never play it again.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentTimeSep 9th 2012
NP: Don Juan de Marco ~ Michael Kamen
I can't help it but my eyes always mist when I play this man's music. Dreamy, that's the word I think that describes his music best for me.Whatever you gaze rests on,do not use your vision, but the eyes of your soul...She knows better... -
- CommentTimeSep 9th 2012 edited
Sauce Code Crispy Bacon
An excellent thriller score. Very effective in the film, with a great main theme. -
- CommentAuthorTimmer
- CommentTimeSep 10th 2012 edited
Steven wrote
Sauce Code Crispy Bacon
An excellent thriller score. Very effective in the film, with a great main theme.
What does the Sauce Code turn out to be? HP or Branstons? Either way Crispy Bacon is the right man for that job.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentTimeSep 10th 2012
NP: The Dark Knight Rises - Hans Zimmer
Did I see a video where Zimmer says he poured over every note of this score to make sure that it was nigh-on perfect? Personally I can't see where all the effort went to. Very much a soundscape-dominated score for me this one. And as I have said elsewhere, the score becomes at its most interesting when it references the themes/motifs from the earlier films.
Off to bed now. I'll review the comments/responses (if any) tomorrow.The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn -
- CommentAuthorKevin Scarlet
- CommentTimeSep 10th 2012
FalkirkBairn wrote
NP: The Dark Knight Rises - Hans Zimmer
Did I see a video where Zimmer says he poured over every note of this score to make sure that it was nigh-on perfect? Personally I can't see where all the effort went to. Very much a soundscape-dominated score for me this one. And as I have said elsewhere, the score becomes at its most interesting when it references the themes/motifs from the earlier films.
Off to bed now. I'll review the comments/responses (if any) tomorrow.
I have not listened to the score explicitly, but it works well in the movie, especially all the action music. -
- CommentTimeSep 10th 2012
It fits the film like a hand to a ten-thousand-dollar laser-scanned custom-fitted glove.I love you all. Never change. Well, unless you want to! -
- CommentTimeSep 10th 2012
It does fit the film, but more like a mitten than a glove, IMO. I can't hear the intricacies of a score that follows what's happening on screen. But rather it supports the feel of scenes (in the main) - sharing this feature with Dredd? - and it does do it rather well.The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn -
- CommentTimeSep 10th 2012 edited
Timmer wrote
Erik Woods wrote
Timmer wrote
So sir, would you like the sixty minute headache or the 80 minute one?
Tyler's AVP: Requiem is the film music equivalent of a severe migraine headache!
-Erik-
It is! But at least with the Tyler score you can turn it off* and play something else.
*better still to never play it again.
is it? I love it when i am in the semi-heavy metal , semi-heavy-film music mood Although it doesn't happen very often.
DARIO MARIANELLI - Anna Karenina
Lush, playful, with Balkan musical elements. Great violin work and overall sound too. Although the general style is the most romantic (as in the musical era, not the sentiment) and the less original he has done to date for the most part, except for the later part where obviously the movie swings to the more dramatic and we hear standard beautiful Marianelli-isms.Love Maintitles. It's full of Wanders. -
- CommentTimeSep 10th 2012
Kevin Scarlet wrote
FalkirkBairn wrote
NP: The Dark Knight Rises - Hans Zimmer
Did I see a video where Zimmer says he poured over every note of this score to make sure that it was nigh-on perfect? Personally I can't see where all the effort went to. Very much a soundscape-dominated score for me this one. And as I have said elsewhere, the score becomes at its most interesting when it references the themes/motifs from the earlier films.
Off to bed now. I'll review the comments/responses (if any) tomorrow.
I have not listened to the score explicitly, but it works well in the movie, especially all the action music.
Works absolute wonders in the film. It's exactly what the film needed believe me the whole theater was shaking rhythmically. Don't judge it before you see the film, it's my advice. I was lukewarm to it prior to the film as well.Love Maintitles. It's full of Wanders. -
- CommentTimeSep 10th 2012
Demetris wrote
DARIO MARIANELLI - Anna Karenina
Lush, playful, with Balkan musical elements. Great violin work and overall sound too. Although the general style is the most romantic (as in the musical era, not the sentiment) and the less original he has done to date for the most part, except for the later part where obviously the movie swings to the more dramatic and we hear standard beautiful Marianelli-isms.
Interesting comments, Demetris. I had a listen to some of this but I didn't enjoy it much. Perhaps for some of the reasons that you highlighted as a positive during your listening.
There seemed to be something about the style of the music (orchestration, tempo - perhaps the Balkan influences?) that I did not warm to. And it was a bit too romantic as well.The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn -
- CommentTimeSep 10th 2012
I didn't enjoy it either until "Someone is watching" and beyond. Interested to hear your views again if you listen carefully from that point onwards when you're in the mood. Skip the first part.Love Maintitles. It's full of Wanders.