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[Closed] Now Playing XLIII

General Discussions » Now Playing XLIII (Posts 1261 to 1290 of 3002)

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  1. I for one certainly don't disregard it - as music or as film music. The use of the the likes of Ligeti and Penderecki in film music is something that I enjoy - The Shining to use a well-trodden example. This particular example just doesn't do much.

    And I am reading hints (not here) that because it is of this particular style and being used as a film score that it elevates it above the rest of film music. And that's not the case.
    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
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      CommentAuthorDemetris
    • CommentTimeOct 16th 2012
    As i said to you Pawel, numerous times, just because many anti-Zimmer loonies throw mud and other brown stuff at your favorite composer, that doesn't mean you should fall to their level; or that it entitles you to do so.
    Love Maintitles. It's full of Wanders.
  3. What I did wasn't connected to that in any way. What I said above, I mostly let the steam out for "mud and other brown stuff" thrown at me because I was brave enough not to like the score and review it in an unfavorable way. I just think that in *this* particular case Horner's own self-plagiarism went over the line. Why Cristiada of all things, no idea, but this is the first time when it actually bothered me and the review followed suit.

    Maybe the reason why it bothered me so much is that two heavily ripped off scores in this one, which are The Missing (reused in its entirety in A Bullet on the Floor) and The Four Feathers (a minor motif in that score makes for a main theme here) belong to my personal Horner favourites. The Braveheart rip-off in Men Fire Bullets, But God Decides Where They Fall, no matter if it was the director's request (he's an admitted fan of that score, which led to Horner's hiring and Horner was so enamored with the old-fashioned storytelling that he decided to do it for a much smaller salary than usual) or not, completely took me out of the film experience when I saw it and made me laugh through a very serious monologue. Why? Because the same theme was used in the same context. It was ALSO a speech about fighting for freedom...
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorAtham
    • CommentTimeOct 16th 2012
    Guild Wars 2 - Jeremy Soule

    A massive, stunning work! cool
    • CommentAuthorTimmer
    • CommentTimeOct 16th 2012
    NP : CAPTAIN KRONOS: VAMPIRE HUNTER - Laurie Johnson


    good score, fantastic main theme. Now where, where is that so often promised and never delivered DOCTOR JECKYLL & SISTER HYDE by David Whitaker???????
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
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      CommentAuthorBobdH
    • CommentTimeOct 16th 2012 edited
    FalkirkBairn wrote
    And I am reading hints (not here) that because it is of this particular style and being used as a film score that it elevates it above the rest of film music. And that's not the case.


    Well, for that last part, I'd certainly hold your criticism until you've seen the film (although you mentioned earlier chances are nil - may I ask why this is? It's a very interesting and very good film). The thing is, not only does Greenwood 'get' with his music the appropriate rhythm of Paul Thomas Anderson's filmmaking and flow of dialogue, the atonal and troubled-sounding passages in the score reflect the psyche of the characters. More so then There Will Be Blood - the music develops into more coherent, tonal down the line (though always eery and slightly troublesome). This is something you simply can't appreciate outside of the film.

    And it is this thought that went behind the music, not simply in terms of themes, that, for me, elevates it above many other works these days - and that's not even speaking of the balls to do something different and develop his own sound (Greenwood's scores are very recognisably his). But that is basically just saying; 'I think it's one of the best scores of the year', and that's what we're all doing here.

    I, myself, already enjoyed the score on the technical level you mentioned before seeing it (also because I knew, as with TWBB before, it would work perfectly with PTA's directorial style), but if that is not the case for you, please seek out either this film, or PTA's earlier There Will Be Blood to at least get the gist of the reason behind this scoring.
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      CommentAuthorDemetris
    • CommentTimeOct 16th 2012
    Greenwood's style is phenomenally fresh and technically brilliant, these days especially. But as the case with what Bob already said above, i saw THERE WILL BE BLOOD and NORWEGIAN WOOD and was stunned by the use of music within the film; certainly not for everyone on CD alone, but surely music that is both intelligent and also elevating the film like - i'd say, no other film composer today; nobody writes in his style and tone; it's difficult but when it fits, it TRULY fits. I have no doubts MASTER will be in the same vein.
    Love Maintitles. It's full of Wanders.
  8. FalkirkBairn wrote
    And I am reading hints (not here) that because it is of this particular style and being used as a film score that it elevates it above the rest of film music. And that's not the case.


    I think that's the case whenever a more serious genre of music in invoked in film scoring. Invariably, the John Coriglianos get taken more seriously than the George Clintons and the John Debneys. Should it be, when the best score for a film is the score that works for it? Probably not, but humans have a way of comparing apples and oranges and saying that one is better than the other. (Is that not the IFMCA, despite its numerous genre distinctions?)
    A butterfly thinks therefore I am
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      CommentAuthorSouthall
    • CommentTimeOct 16th 2012
    I think it's any award body, to be fair.

    Any time an "outsider" writes a film score it tends to get a lot of attention and a lot of praise - not just the serious composers too (witness the Oscar for Social Network or the massive attention Vangelis got for writing his joke score for Alexander).
    http://www.movie-wave.net | http://facebook.com/moviewave
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      CommentAuthorScribe
    • CommentTimeOct 16th 2012 edited
    NP: Russland - Kolja Erdmann

    This is just too good. Why did it take me a whole year to even hear of this score? Not only are the opening and closing pieces absolute masterpieces of symphonic and choral majesty, but the entire middle hour has barely a boring track at all!
    I love you all. Never change. Well, unless you want to!
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      CommentAuthorSouthall
    • CommentTimeOct 16th 2012
    If you're in any way interested in this sort of thing then you should try to seek out the series Wild Russia (on which Russland is based and on whose score Russland is based), a truly spectacular natural history series that rivals anything the BBC's done (and coming from me, that's the highest praise).
    http://www.movie-wave.net | http://facebook.com/moviewave
  12. Southall wrote
    I think it's any award body, to be fair.


    That's what I mean though. People compare things that all work in their own right in the films where they came from. I'm not saying the Best Actor oscar -- probably the most arbitrary award ever -- is any different. wink
    A butterfly thinks therefore I am
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      CommentAuthorDemetris
    • CommentTimeOct 16th 2012
    Southall wrote
    I think it's any award body, to be fair.

    Any time an "outsider" writes a film score it tends to get a lot of attention and a lot of praise - not just the serious composers too (witness the Oscar for Social Network or the massive attention Vangelis got for writing his joke score for Alexander).


    What's wrong with that, especially if the work is amazing ? Greenwood is a very talented artist, is the contrary being suggested here?
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorScribe
    • CommentTimeOct 16th 2012
    Southall wrote
    If you're in any way interested in this sort of thing then you should try to seek out the series Wild Russia (on which Russland is based and on whose score Russland is based), a truly spectacular natural history series that rivals anything the BBC's done (and coming from me, that's the highest praise).


    I am indeed. I've been watching Planet Earth for the 2nd time with my girlfriend (first time for her). Who does the score for Wild Russia? Thanks for the tip beer
    I love you all. Never change. Well, unless you want to!
    •  
      CommentAuthorDemetris
    • CommentTimeOct 16th 2012
    Scribe wrote
    Southall wrote
    If you're in any way interested in this sort of thing then you should try to seek out the series Wild Russia (on which Russland is based and on whose score Russland is based), a truly spectacular natural history series that rivals anything the BBC's done (and coming from me, that's the highest praise).


    I am indeed. I've been watching Planet Earth for the 2nd time with my girlfriend (first time for her). Who does the score for Wild Russia? Thanks for the tip beer


    Spectacular scoring.
    Love Maintitles. It's full of Wanders.
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      CommentAuthorSouthall
    • CommentTimeOct 16th 2012
    Demetris wrote
    Southall wrote
    I think it's any award body, to be fair.

    Any time an "outsider" writes a film score it tends to get a lot of attention and a lot of praise - not just the serious composers too (witness the Oscar for Social Network or the massive attention Vangelis got for writing his joke score for Alexander).


    What's wrong with that, especially if the work is amazing ? Greenwood is a very talented artist, is the contrary being suggested here?


    Oh - there's nothing wrong with it if the work is amazing! It frequently isn't, though, like in my examples (I haven't heard the new Greenwood score so can't offer any comment).
    http://www.movie-wave.net | http://facebook.com/moviewave
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      CommentAuthorSouthall
    • CommentTimeOct 16th 2012
    Scribe wrote
    Southall wrote
    If you're in any way interested in this sort of thing then you should try to seek out the series Wild Russia (on which Russland is based and on whose score Russland is based), a truly spectacular natural history series that rivals anything the BBC's done (and coming from me, that's the highest praise).


    I am indeed. I've been watching Planet Earth for the 2nd time with my girlfriend (first time for her). Who does the score for Wild Russia? Thanks for the tip beer


    It's by Kolja Erdmann - he based the Russland score on it (a bit like George Fenton with the Blue Planet / Deep Blue situation).
    http://www.movie-wave.net | http://facebook.com/moviewave
    • CommentAuthorTimmer
    • CommentTimeOct 17th 2012
    NP : CONAN THE DESTROYER - Basil Poledouris


    such a brilliant release and glad to see this rerecording was an eye-opener for some of you here.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
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      CommentAuthorErik Woods
    • CommentTimeOct 17th 2012
    ^ A great re-recording. This is how Barbarian should have sounded.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorErik Woods
    • CommentTimeOct 17th 2012 edited
    NP: Skyfall - Thomas Newman

    I can now produce my James Bond show! wink Anyway, this of course is my first listen and I just got through the AWESOME opening track "Grand Bazaar, Istanbul." Looking forward to the rest... all 77 minutes of it! shocked

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    • CommentAuthorAnthony
    • CommentTimeOct 17th 2012
    Please do report back...eager to hear this one.
    •  
      CommentAuthorErik Woods
    • CommentTimeOct 17th 2012
    Cool orchestral rendition of the Adele title tune in "Komodo Dragon."

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  23. How do you get the full scores so early. Not fair...
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      CommentAuthorBregt
    • CommentTimeOct 17th 2012
    Oh my. Sounds good!
    Kazoo
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      CommentAuthorDemetris
    • CommentTimeOct 17th 2012
    Of course it does; it's Newman.
    Love Maintitles. It's full of Wanders.
    • CommentAuthorAnthony
    • CommentTimeOct 17th 2012
    Erik Woods wrote
    Cool orchestral rendition of the Adele title tune in "Komodo Dragon."

    -Erik-


    Excellent, Dave Norris on FSM mentioned this in the movie. I thought perhaps it had replaced the Komodo Dragon track on the disc, which sounded very promising already. Apparently Newman didn't have the Adele song to work with, so I wonder if somebody else did this part?
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      CommentAuthorErik Woods
    • CommentTimeOct 17th 2012
    Kevin Scarlet wrote
    How do you get the full scores so early. Not fair...


    I'm going to let you think about that for minute to see if you can come up with the answer yourself. wink

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorDemetris
    • CommentTimeOct 18th 2012 edited
    Erik Woods wrote
    NP: Skyfall - Thomas Newman

    I can now produce my James Bond show! wink Anyway, this of course is my first listen and I just got through the AWESOME opening track "Grand Bazaar, Istanbul." Looking forward to the rest... all 77 minutes of it! shocked

    -Erik-


    Playing it too, just rolled it off. The last time I got so excited about a listening to a new score for the first time, was with the first notes of LO IMPOSSIBLE. Suddenly 2012 got from crappy to a lot better. I hope every year gets as good towards Christmas wink
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorScribe
    • CommentTimeOct 18th 2012
    And we still have new Williams and Shore to look forward to!
    I love you all. Never change. Well, unless you want to!
  30. Desplat's score to the Guardians movie sounds great as well. There was another I was really looking forward to besides those just mentioned that I can't think of right now. slant Anyway, lots of potentially very good music is coming.

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