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[Closed] Now Playing XLV

General Discussions » Now Playing XLV (Posts 871 to 900 of 3132)

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    • CommentAuthorTimmer
    • CommentTimeJul 22nd 2013
    Edmund Meinerts wrote
    Timmer wrote
    I liked some of THE PEACEMAKER soundtrack....up until anything "anthemic" appears. There lies my dislike of many Zimmer scores.

    Strange innit...for me it's the anthems that often provide the chief redeeming qualities of many Zimmer or RCP scores. Oh well. dizzy


    Yeah, I'm very aware that's what draws many people to Zimmer, indeed, it's his anthemic music that has made him many fans. Just not me! wink
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorTimmer
    • CommentTimeJul 22nd 2013
    NP : ZULU - John Barry



    20 minute scores don't come much better than this!
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  3. There is more of the dramatic underscore and thematic material in the complete score. In fact, it takes a while till the real anthems kick in and they are called for rather than just blasting them all the way around for the sake of them (a bit of The Rock springs to mind). There is much more intelligence to it to the narrative aspect of the music than this kind of rather daft (though at least very nicely shot and technically perfect) action thriller could get.

    Hans was personally asked by Steven Spielberg to take on this project. That happened because Spielberg is famously a huge fan of Crimson Tide and has publicly stated that Hans would be the way to go if Williams couldn't do it for some reason.

    I have a certain theory about how specific was this particular sound and what it was created for. I still can't understand (and I would gather that Hans can't either; he's rather perplexed by his own popularity) why did it become so overwhelming in the film industry... he's all for diversity, actually.

    The Peacemaker is, well, a score that is a case against programmed albums or at least wrong programming choices. To me it's the classic example, where a complete and chronological release would present all the narrative ideas. There are scores I started to appreciate much more in their complete form than I did on a previous release. What was a slightly above average score, which was simply obnoxious at while, suddenly struck as the most intelligently structured score on this side of Crimson Tide.
    http://www.filmmusic.pl - Polish Film Music Review Website
    • CommentAuthorTimmer
    • CommentTimeJul 22nd 2013 edited
    he's rather perplexed by his own popularity


    No shit!? It perplexes me too! spin
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorMartijn
    • CommentTimeJul 22nd 2013 edited
    This thread is getting to be a bit odd. I see a post about Howard Blake, and a response on Hans Zimmer.
    Then I see a post on John Barry, followed by a response...on Hans Zimmer!

    Is it me or is this getting a bit monomaniacal? dizzy
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorMartijn
    • CommentTimeJul 22nd 2013
    (The problem of course is that now Hans is scoring every single film on the planet for the coming forty years or so, this thread may well be a harbinger of the future! biggrin )
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
  7. Martijn wrote
    (The problem of course is that now Hans is scoring every single film on the planet for the coming forty years or so, this thread may well be a harbinger of the future! biggrin )

    You mean that Zimmer isn't the composer of the soundtrack of your life?
    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
    • CommentAuthorTimmer
    • CommentTimeJul 22nd 2013
    Martijn wrote
    This thread is getting to be a bit odd. I see a post about Howard Blake, and a response on Hans Zimmer.
    Then I see a post on John Barry, followed by a response...on Hans Zimmer!

    Is it me or is this getting a bit monomaniacal? dizzy


    It's not just you, no! And I'm not helping am I? rolleyes wink
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorlp
    • CommentTimeJul 22nd 2013
    PawelStroinski wrote
    My main problem is really not enough respite and the fact that the official album loses all the narrative nuance the score has, based on its motivic material.

    Toutes proportions gardées, this score is Hans Zimmer's structural and narrative equivalent of John Williams' Black Sunday for me.


    I agree. One of the most unique thing about this score, for me, is how straight forward it is. It's linear storytelling, with identifiable good guy/bad guy, and not much about conceptual experimentation. I do wish that he can re-apply this same sensibility and style toward future score.
    •  
      CommentAuthorlp
    • CommentTimeJul 22nd 2013
    FalkirkBairn wrote
    Martijn wrote
    (The problem of course is that now Hans is scoring every single film on the planet for the coming forty years or so, this thread may well be a harbinger of the future! biggrin )

    You mean that Zimmer isn't the composer of the soundtrack of your life?


    As a big fan of Hans Zimmer, I'm not sure if he would be the composer for my biography, but I would love to hear his take on it.
    • CommentAuthorTimmer
    • CommentTimeJul 22nd 2013
    NP : FOUR IN THE MORNING - John Barry



    Mournful and haunting little score for 1965 'kitchen sink drama' starring a very young Judi Dench.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  12. lp wrote
    PawelStroinski wrote
    My main problem is really not enough respite and the fact that the official album loses all the narrative nuance the score has, based on its motivic material.

    Toutes proportions gardées, this score is Hans Zimmer's structural and narrative equivalent of John Williams' Black Sunday for me.


    I agree. One of the most unique thing about this score, for me, is how straight forward it is. It's linear storytelling, with identifiable good guy/bad guy, and not much about conceptual experimentation. I do wish that he can re-apply this same sensibility and style toward future score.


    Umm, there is no proper bad-guy motif. There is an overarching motif for the bomb itself. Conceptually, well, he admitted he used rejected ideas for Crimson Tide.
    http://www.filmmusic.pl - Polish Film Music Review Website
  13. Timmer wrote
    NP : FOUR IN THE MORNING - John Barry



    Mournful and haunting little score for 1965 'kitchen sink drama' starring a very young Judi Dench.


    One of his Bryan Forbes scores, right?
    http://www.filmmusic.pl - Polish Film Music Review Website
  14. Bregje wrote
    christopher wrote
    MARY SHELLY'S FRANKENSTEIN - Patrick Doyle

    It's been a long time since I've played this. The love theme is one of Doyle's best ("The Wedding Night" is rapturously beautiful), but the track that really blew me away was "Creation". I had totally forgotten about that track, but it is fantastic!

    Patrick Doyle was in Ghent years ago and his concert was great. There was an awesome performance of Creation. A true brass fest.


    That would have been awesome to hear, I'm sure.
    Bregje wrote
    I started listening to The Amazing Spiderman and ended up in an amazing Horner playlist. Avatar, A Beautiful Mind and now Apollo 13.


    I've been playing through my favorite Horner music this morning in alphabetical order, so I've been listening to the same stuff as you have smile I'm up to Balto right now. I like it, and some of it is really great, but that "Reach for the Light" song has got to be one of the worst songs I've ever heard.
    •  
      CommentAuthorlp
    • CommentTimeJul 22nd 2013
    PawelStroinski wrote
    lp wrote
    PawelStroinski wrote
    My main problem is really not enough respite and the fact that the official album loses all the narrative nuance the score has, based on its motivic material.

    Toutes proportions gardées, this score is Hans Zimmer's structural and narrative equivalent of John Williams' Black Sunday for me.


    I agree. One of the most unique thing about this score, for me, is how straight forward it is. It's linear storytelling, with identifiable good guy/bad guy, and not much about conceptual experimentation. I do wish that he can re-apply this same sensibility and style toward future score.


    Umm, there is no proper bad-guy motif. There is an overarching motif for the bomb itself. Conceptually, well, he admitted he used rejected ideas for Crimson Tide.


    The bad guy has the saddest theme with an accompanying 3 note motif.

    Speaking of ideas, did he ever let you listen to the unused stuff for TTRL?
  16. No. He says he reuses the unused ideas all the time, but won't tell me where.
    http://www.filmmusic.pl - Polish Film Music Review Website
    • CommentAuthorTimmer
    • CommentTimeJul 22nd 2013
    PawelStroinski wrote
    Timmer wrote
    NP : FOUR IN THE MORNING - John Barry



    Mournful and haunting little score for 1965 'kitchen sink drama' starring a very young Judi Dench.


    One of his Bryan Forbes scores, right?


    No it isn't, he's not credited at all.

    I had to look up the director Anthony Simmons, he doesn't have much of a filmography and worked mostly in TV directing such programs as The Professionals, Van Der Valk and A Touch of Frost.

    I vaguely remember something along the lines of John Barry scoring the film for nothing ( he was already in big demand by 1965 ) but don't quote me on that until I'm sure I get my facts straight. wink
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorMartijn
    • CommentTimeJul 22nd 2013
    FalkirkBairn wrote
    Martijn wrote
    (The problem of course is that now Hans is scoring every single film on the planet for the coming forty years or so, this thread may well be a harbinger of the future! biggrin )

    You mean that Zimmer isn't the composer of the soundtrack of your life?


    angry
    Only the magnificent Basil would have been capable of such an edeavour.
    As it is, it is decreed I shall pass in the loudest possible silence.
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
  19. Timmer wrote
    PawelStroinski wrote
    Timmer wrote
    NP : FOUR IN THE MORNING - John Barry



    Mournful and haunting little score for 1965 'kitchen sink drama' starring a very young Judi Dench.


    One of his Bryan Forbes scores, right?


    No it isn't, he's not credited at all.

    I had to look up the director Anthony Simmons, he doesn't have much of a filmography and worked mostly in TV directing such programs as The Professionals, Van Der Valk and A Touch of Frost.

    I vaguely remember something along the lines of John Barry scoring the film for nothing ( he was already in big demand by 1965 ) but don't quote me on that until I'm sure I get my facts straight. wink


    I've also heard he did this one for free. Will need to find it.
    http://www.filmmusic.pl - Polish Film Music Review Website
    • CommentAuthorTimmer
    • CommentTimeJul 23rd 2013 edited
    I have the Geoff Leonard, Gareth Bramley & Pete Walker book on JB but unfortunately it's not to hand.


    NP : THE SPECIALIST - John Barry



    Superb!

    This is what I call subtley awesome. Wonderful choral work.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorlp
    • CommentTimeJul 23rd 2013
    NP: Your Highness - Steve Jablonsky

    Very entertaining score, with much of the orchestral action from his previous work on Spirit and Steamboy.
  22. lp wrote
    NP: Your Highness - Steve Jablonsky

    Very entertaining score, with much of the orchestral action from his previous work on Spirit and Steamboy.

    yeah

    Love this score - it was so good to hear that Steamboy spark again. Ya hear us, Steve? More of THIS, please!
    •  
      CommentAuthorScribe
    • CommentTimeJul 23rd 2013
    I think there's a chance he'll bring it back for Ender's Game, but considering that he was hired to replace James Horner, I think its a pretty small chance... slant
    I love you all. Never change. Well, unless you want to!
    •  
      CommentAuthorlp
    • CommentTimeJul 23rd 2013
    NP: W.E. - Abel Korzeniowski

    Gorgeous, timeless, classic love theme.
    •  
      CommentAuthorBregje
    • CommentTimeJul 23rd 2013
    lp wrote
    NP: W.E. - Abel Korzeniowski

    Gorgeous, timeless, classic love theme.

    Korzeniowski is wonderful. By the way, he announced on facebook an announcement soon. I wonder what project it will be this time.
    smile
    •  
      CommentAuthorBregje
    • CommentTimeJul 23rd 2013
    Today I listened to Mystery of the Nile - because it fit the temperatures.

    I also had to think of my Water themed compilation I never finished! That would be great for warm days like these as well. Of course it should have Beyond Rangoon on it and Swimming from Waterworld. I think I started making a list at some point but never actually made the compilation. I don't remember well.

    :splash:
    •  
      CommentAuthorBregt
    • CommentTimeJul 23rd 2013 edited
    Bregje wrote
    Today I listened to Mystery of the Nile - because it fit the temperatures.

    I also had to think of my Water themed compilation I never finished! That would be great for warm days like these as well. Of course it should have Beyond Rangoon on it and Swimming from Waterworld. I think I started making a list at some point but never actually made the compilation. I don't remember well.

    And Danna's Water? Perhaps also a track from Fenton's Blue Planet (Spinning Dolphins or Emperors)? Finding Nemo too!

    :splash:

    You could always use icecream for hot weather. wink
    Kazoo
    •  
      CommentAuthorlp
    • CommentTimeJul 23rd 2013
    Bregje wrote
    lp wrote
    NP: W.E. - Abel Korzeniowski

    Gorgeous, timeless, classic love theme.

    Korzeniowski is wonderful. By the way, he announced on facebook an announcement soon. I wonder what project it will be this time.
    smile


    I think I saw a posting on FSM about this. Seems like he's doing a replacement for after someone famous got rejected?

    Regardless, this guys should be doing more scores.

    NP: W.E. - Abel Korzeniowski

    Very enjoyable album from start to finish. The melodic statements are sublime, as well as anytime you hear the thematic elements reiterated. The piano pieces are great. I'm not a big fan of the choppy strings (a la As Good As It Gets), since they feel derivative and distracting, but that's a minor quibble.
    • CommentAuthorTimmer
    • CommentTimeJul 23rd 2013 edited
    Bregje wrote
    Today I listened to Mystery of the Nile - because it fit the temperatures.

    I also had to think of my Water themed compilation I never finished! That would be great for warm days like these as well. Of course it should have Beyond Rangoon on it and Swimming from Waterworld. I think I started making a list at some point but never actually made the compilation. I don't remember well.

    :splash:


    I'm sure we can all help out...

    LEVIATHAN

    THE LOVEMAKING

    ISLANDS OF GREEN
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorThor
    • CommentTimeJul 23rd 2013
    lp wrote
    Bregje wrote
    lp wrote
    NP: W.E. - Abel Korzeniowski

    Gorgeous, timeless, classic love theme.

    Korzeniowski is wonderful. By the way, he announced on facebook an announcement soon. I wonder what project it will be this time.
    smile


    I think I saw a posting on FSM about this. Seems like he's doing a replacement for after someone famous got rejected?


    Yes. Korzeniowski will step in for James Horner in the upcoming ROMEO & JULIET. Justin Boggan will tell you more.
    I am extremely serious.

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