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[Closed] Now Playing XLIII

General Discussions » Now Playing XLIII (Posts 2701 to 2730 of 3002)

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    • CommentAuthorTimmer
    • CommentTimeDec 27th 2012
    James Horner
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorTimmer
    • CommentTimeDec 27th 2012 edited
    Anthony wrote
    NP: Live And Let Die - George Martin

    I think aside from any of the Barry scores, this is probably the best Bond score. cool


    I agree! biggrin wink
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  3. Timmer wrote
    James Horner


    Would you care specifying that? confused
    Bach's music is vibrant and inspired.
    • CommentAuthorTimmer
    • CommentTimeDec 27th 2012
    James Horner
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorCristian
    • CommentTimeDec 27th 2012
    Timmer wrote
    James Horner


    Born August 14, 1953 in Los Angeles, California, USA, probably best known for Titanic, a gigantic and monumental composition.
    http://cristianlee.1x.com/
    •  
      CommentAuthorScribe
    • CommentTimeDec 27th 2012
    Cristian wrote
    Timmer wrote
    James Horner


    Born August 14, 1953 in Los Angeles, California, USA, probably best known for Titanic, a gigantic and monumental composition.


    A score which is filled to the brim with 79 themes and motifs, representing every conceivable aspect of the emotional heart of the story, including several distinct subthemes for each of DiCaprio's hair styles.
    I love you all. Never change. Well, unless you want to!
    • CommentAuthorTimmer
    • CommentTimeDec 27th 2012
    James Horner
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorCristian
    • CommentTimeDec 27th 2012
    Scribe wrote
    Cristian wrote
    Timmer wrote
    James Horner


    Born August 14, 1953 in Los Angeles, California, USA, probably best known for Titanic, a gigantic and monumental composition.


    A score which is filled to the brim with 79 themes and motifs, representing every conceivable aspect of the emotional heart of the story, including several distinct subthemes for each of DiCaprio's hair styles.


    He found inspiration from the classics, which he studied ten years before composing the score.
    http://cristianlee.1x.com/
  9. PawelStroinski wrote
    Southall wrote
    Steven wrote
    For Greater Glory annoyed the shit out of me. I usually don't mind Horner's re-use of themes and whatnot, but this one just took the piss. If ever the phrase "phoning it in" applies, it's here.


    There's the obvious one, using the Four Feathers theme all the way through it, but I missed all the others. What else is in there?


    Men Fire Bullets, But God Decides Where They Land is a simple rewrite of the Braveheart Sons of Scotland speech music, used in an identical context in the film. Made me *laugh* when I saw the movie.

    Four-note motif is the four-note motif, obviously.

    Bullet on the Floor is a rewrite of the main theme and the action style from The Missing. The Entre la luz y el pecado song is something between The Mask of Zorro and A Beautiful Mind. Also We're Cristeros Now is Avatar filtered through Mask of Zorro's flamenco.

    Yeah, pretty much.
  10. Scribe wrote
    PawelStroinski wrote
    Men Fire Bullets, But God Decides Where They Land is a simple rewrite of the Braveheart Sons of Scotland speech music, used in an identical context in the film. Made me *laugh* when I saw the movie.


    But they sound different because of the instrumentation and are thus worthily different pieces of music to me. It doesn't remind me of Braveheart at all and I've heard Braveheart quite a few times. I don't feel like this is anywhere near as bad as the lift from Casper to The Spiderwick Chronicles because that was done with the exact same sort of piano playing.

    Also We're Cristeros Now is Avatar filtered through Mask of Zorro's flamenco.

    Which is awesome and exactly why I like to collect dozens of scores from the same composer...to hear them come up with new combinations of their own personal tricks.

    Yeah, the Men Fire Bullets track, in addition to just being an awesome title, is probably the best cue of the score.
    •  
      CommentAuthorErik Woods
    • CommentTimeDec 27th 2012
    Scribe wrote
    Which is awesome and exactly why I like to collect dozens of scores from the same composer...to hear them come up with new combinations of their own personal tricks.


    'Personal tricks' (crashing pianos for instance) is much different than just copying one cue from another score and inserting it into your "new" score.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    • CommentAuthorTimmer
    • CommentTimeDec 27th 2012
    James Horner
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorErik Woods
    • CommentTimeDec 27th 2012
    Correct!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    • CommentAuthorTimmer
    • CommentTimeDec 27th 2012
    What the hell, I've been itching to play this all day...


    NP : KRULL - James Horner



    Really, fantasy scoring doesn't get better than this. punk
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorErik Woods
    • CommentTimeDec 27th 2012 edited
    yeah
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorScribe
    • CommentTimeDec 27th 2012
    Erik Woods wrote
    Scribe wrote
    Which is awesome and exactly why I like to collect dozens of scores from the same composer...to hear them come up with new combinations of their own personal tricks.


    'Personal tricks' (crashing pianos for instance) is much different than just copying one cue from another score and inserting it into your "new" score.

    -Erik-


    The only time I've ever heard him do that is with the aforementioned Casper/Spiderwick thing. I don't notice it any other times and I have 45 Horner scores. I guess I am just a Bad Listener sad
    I love you all. Never change. Well, unless you want to!
    •  
      CommentAuthorSteven
    • CommentTimeDec 27th 2012
    Timmer wrote
    James Horner

    Timmer wrote
    James Horner

    Timmer wrote
    James Horner

    Timmer wrote
    James Horner


    Where's your proof though?
    • CommentAuthorTimmer
    • CommentTimeDec 27th 2012
    James Horner
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorSteven
    • CommentTimeDec 27th 2012
    Sold!
    • CommentAuthorTimmer
    • CommentTimeDec 27th 2012
    wink


    NP : THE SHAWSHANK REDEMPTION - Thomas Newman


    Wonderful score to a wonderful film.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorMartijn
    • CommentTimeDec 27th 2012
    Timmer wrote
    James Horner


    Stating it quince is of course quintessential!
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    • CommentAuthorTimmer
    • CommentTimeDec 27th 2012
    spin spin spin spin spin
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorDemetris
    • CommentTimeDec 27th 2012
    Timmer wrote
    Well, there's no getting past the fact that it does sound like Enya.



    Yeah, both are equally bad to the ear.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorDemetris
    • CommentTimeDec 27th 2012
    Southall wrote
    christopher wrote
    Just finished my second full listen of Panu Aaltio's METSAN TARINA this morning. It's very good! There is a lot of variety in it, and a lot of strong tracks. It's not as thematically memorable as HOME OF DARK BUTTERFLIES, but it is lovely. There are some tracks that are sweeping, some that are playful, some that are really fun, and some that have a quiet beauty that is really really nice. Good stuff!


    I'm listening to it now! Very good one.


    It's not at the level of home of the dark butterflies (an exceptionally gorgeous score) but yeah, it's thematic and lush, elegant orchestral writing; pretty, pretty good.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorDemetris
    • CommentTimeDec 27th 2012
    Captain Future wrote
    Demetris wrote
    Erik Woods wrote
    Titanic > For Greater Glory. I couldn't get past the first track of For Greater Glory. Actually, I did... but I didn't want to. vomit

    -Erik-


    Titanic? The one score with the synthetic chicks' singing?


    Yes, awsome, don't you think? wink
    Im sure you agree, that the original version carried the mood much better then the real-choir-version that VS did back in the day.
    This is not a question of synthenic or not synthetic. The question is, what the composer tried to achieve. There are no forbidden means for that purpose. Horner dind't try to fake a real quier, rather the synthetic choir was a means to transport us back into a world of long gone.
    "It was called the ship of dreams." Remember? The surreal sounds take us there perfectly.


    Casio synth choirs take us back in time? In horrible 70's-80's synth pop crap perhaps, but certainly not 1912 smile
    Love Maintitles. It's full of Wanders.
  26. Demetris wrote
    Captain Future wrote
    Demetris wrote
    Erik Woods wrote
    Titanic > For Greater Glory. I couldn't get past the first track of For Greater Glory. Actually, I did... but I didn't want to. vomit

    -Erik-


    Titanic? The one score with the synthetic chicks' singing?


    Yes, awsome, don't you think? wink
    Im sure you agree, that the original version carried the mood much better then the real-choir-version that VS did back in the day.
    This is not a question of synthenic or not synthetic. The question is, what the composer tried to achieve. There are no forbidden means for that purpose. Horner dind't try to fake a real quier, rather the synthetic choir was a means to transport us back into a world of long gone.
    "It was called the ship of dreams." Remember? The surreal sounds take us there perfectly.


    Casio synth choirs take us back in time? In horrible 70's-80's synth pop crap perhaps, but certainly not 1912 smile

    Well, I love and adore 70s/80s electronica, so I don't mind at all. (One day I'm gonna buy my YDX7II, one day I will!). However, I don't thing that the score of a period flick necessarily has to mirror that period in style. There are many scores to prove the opposite, one of my favourites beeing "Chariots of Fire" by your conpatriot Vangelis.
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorSouthall
    • CommentTimeDec 27th 2012
    John Carter - Michael Giacchino

    Everyone else is flogging dead horses, so I may as well wonder who in their right mind would want to make this album this long. I might actually have listened to it more than twice before had 40 minutes been chopped out.
    http://www.movie-wave.net | http://facebook.com/moviewave
    •  
      CommentAuthorSouthall
    • CommentTimeDec 27th 2012
    Timmer wrote
    Anthony wrote
    NP: Live And Let Die - George Martin

    I think aside from any of the Barry scores, this is probably the best Bond score. cool


    I agree! biggrin wink


    I see what you did there. A definite improvement over the original statement, which I can now banish from my memory!
    http://www.movie-wave.net | http://facebook.com/moviewave
  29. Titanic - Horner

    This was the 2nd score I ever bought from Horner and the 3rd overall. I like it mainly for sentimental reasons now.
    • CommentAuthorJosh B
    • CommentTimeDec 28th 2012
    Southall wrote
    John Carter - Michael Giacchino

    Everyone else is flogging dead horses, so I may as well wonder who in their right mind would want to make this album this long. I might actually have listened to it more than twice before had 40 minutes been chopped out.


    I like the score but I rarely bother to listen to the slow middle section. Leave out tracks 6-8, 10-13 and it's a great listen.

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