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[Closed] Now Playing XLVI

General Discussions » Now Playing XLVI (Posts 2701 to 2730 of 6016)

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    •  
      CommentAuthorThor
    • CommentTimeApr 7th 2014
    Martijn wrote
    Anthony wrote
    Oh, and there's harpsichord. Worst. Instrument. Ever.


    I'm sorry, but inexplicably a strange typo entered your post there. You meant to say "awesomest instrument in the non-linear history of all multiverses". Of course. Just thought I'd point that out.
    You might want to check the connections of your keyboard keys.


    He, he.....indeed. Love me some harpie!
    I am extremely serious.
    •  
      CommentAuthorSteven
    • CommentTimeApr 7th 2014
    Edmund Meinerts wrote
    Timmer wrote
    Please John Powell, move away from the cartoons eh? There's a good chap.

    I'll say what I always say when people bring this up - why? Modern-day animated movies, in a lot of ways, give their composers far more room to spread their wings. The composers are allowed (if that's the right word) to write in much more colorful and expressive ways than seems to be permitted in the more "serious" live-action arena. I'd much rather have Powell exclusively pumping out these bright, fun scores than have him be forced down the Henry Jackman route of alternating them with horrid, tuneless, abysmal action scores. Not that I think Powell would ever stoop to the levels of Jackman's latest few, but still.

    I'd love just as much as anyone to see him take on/be assigned to some films with a bit more variety (not necessarily action movies...how about a proper drama?), but honestly I'm just as happy to if he keeps on doing his thing. It's just such a good "thing" (to me) that I can't complain. smile


    I agree with you for the most part, but I think Powell is such a diverse composer that it seems a shame that he's tied down (by his own doing by the sounds of it) to one type of score. As brilliant as he is at scoring animated films, he is also brilliant at scoring just about any other genre. I wouldn't want him to give up scoring animated films, but it would be nice to hear another Paycheck, Bourne, or indeed even a romantic comedy like PS I Love You.

    Clearly Green Zone is the type of score we would be hearing from Powell if he continued to work with Greengrass, and I would honestly be happy with that. That score is everything a 'modern' director could ask for, and yet it doesn't even barely relegate itself to the pits of film scoring that Jackman's action scores reach.

    We can but hope...
    •  
      CommentAuthorSteven
    • CommentTimeApr 8th 2014
    Martijn wrote
    Anthony wrote
    Oh, and there's harpsichord. Worst. Instrument. Ever.


    I'm sorry, but inexplicably a strange typo entered your post there. You meant to say "awesomest instrument in the non-linear history of all multiverses". Of course. Just thought I'd point that out.
    You might want to check the connections of your keyboard keys.



    Not to mention a wonderfully satisfying instrument to play.
  4. Steven wrote
    Edmund Meinerts wrote
    Timmer wrote
    Please John Powell, move away from the cartoons eh? There's a good chap.

    I'll say what I always say when people bring this up - why? Modern-day animated movies, in a lot of ways, give their composers far more room to spread their wings. The composers are allowed (if that's the right word) to write in much more colorful and expressive ways than seems to be permitted in the more "serious" live-action arena. I'd much rather have Powell exclusively pumping out these bright, fun scores than have him be forced down the Henry Jackman route of alternating them with horrid, tuneless, abysmal action scores. Not that I think Powell would ever stoop to the levels of Jackman's latest few, but still.

    I'd love just as much as anyone to see him take on/be assigned to some films with a bit more variety (not necessarily action movies...how about a proper drama?), but honestly I'm just as happy to if he keeps on doing his thing. It's just such a good "thing" (to me) that I can't complain. smile


    I agree with you for the most part, but I think Powell is such a diverse composer that it seems a shame that he's tied down (by his own doing by the sounds of it) to one type of score. As brilliant as he is at scoring animated films, he is also brilliant at scoring just about any other genre. I wouldn't want him to give up scoring animated films, but it would be nice to hear another Paycheck, Bourne, or indeed even a romantic comedy like PS I Love You.

    Clearly Green Zone is the type of score we would be hearing from Powell if he continued to work with Greengrass, and I would honestly be happy with that. That score is everything a 'modern' director could ask for, and yet it doesn't even barely relegate itself to the pits of film scoring that Jackman's action scores reach.

    We can but hope...


    If I understand what I heard well, don't expect Powell to return to Greengrass. Jackman and anybody in RCP, for that matter, too.
    http://www.filmmusic.pl - Polish Film Music Review Website
    • CommentAuthorTimmer
    • CommentTimeApr 8th 2014 edited
    Martijn wrote
    Anthony wrote
    Oh, and there's harpsichord. Worst. Instrument. Ever.


    I'm sorry, but inexplicably a strange typo entered your post there. You meant to say "awesomest instrument in the non-linear history of all multiverses". Of course. Just thought I'd point that out.
    You might want to check the connections of your keyboard keys.


    I'm very sorry to report on both our behalves Martijn, that the harpsichord doesn't appear enough in this score ( in fact it barely appears at all ), getting it's best workout in 'Sideshow freaks' it starts very promisingly before popping off in an Elfmanesque mickey mouse direction.

    There was nothing really unpleasant about listening to RIO 2 but there's too many great scores out there for me to bother returning to this.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorTimmer
    • CommentTimeApr 8th 2014
    Steven wrote
    Martijn wrote
    Anthony wrote
    Oh, and there's harpsichord. Worst. Instrument. Ever.


    I'm sorry, but inexplicably a strange typo entered your post there. You meant to say "awesomest instrument in the non-linear history of all multiverses". Of course. Just thought I'd point that out.
    You might want to check the connections of your keyboard keys.



    Not to mention a wonderfully satisfying instrument to play.


    indubitably
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  7. Steven wrote
    I agree with you for the most part, but I think Powell is such a diverse composer that it seems a shame that he's tied down (by his own doing by the sounds of it) to one type of score. As brilliant as he is at scoring animated films, he is also brilliant at scoring just about any other genre. I wouldn't want him to give up scoring animated films, but it would be nice to hear another Paycheck, Bourne, or indeed even a romantic comedy like PS I Love You.

    Clearly Green Zone is the type of score we would be hearing from Powell if he continued to work with Greengrass, and I would honestly be happy with that. That score is everything a 'modern' director could ask for, and yet it doesn't even barely relegate itself to the pits of film scoring that Jackman's action scores reach.

    We can but hope...

    I'm not sure I'd call the music animated films "one type of score" (and I'm sure Erik will back me up on this). Even within that medium (NOT genre), and sticking to that composer, we've had quite a variety of styles. The complete madcap insanity of a score like Robots or Horton Hears a Who is quite different from the surprisingly mature and straight-laced drama heard in (parts of) Happy Feet and Mars Needs Moms for instance. Or, at a more basic level, the Brazilian/Asian/Celtic stylistics of Rio/Kung Fu Panda/How to Train Your Dragon. I think there's more than enough variety there to poke enormous holes in anyone who claims that his animated scores all sound the same.

    Another Paycheck would, of course, be a dream come true. As much as I love the Bourne scores, I wish that had been the one to spiral off a hundred imitators.

    Like I said, I'd welcome a return to live-action movies. But I don't think he's necessarily worse off for not doing any. The only thing that I don't want him to do is take another year off. cry
    •  
      CommentAuthorSteven
    • CommentTimeApr 8th 2014
    Very true, I certainly wasn't trying to imply that animation is a genre. But the type of animated films he scores do tend to lend themselves to a particular type of scoring approach, and although there is a clear difference between a score like Robots and How To Train Your Dragon, it's still a relatively narrow gap when you compare it to something like The Bourne Supremacy or, indeed, Paycheck. (Or as we say in England, Paycheque.)
    • CommentAuthorTimmer
    • CommentTimeApr 8th 2014
    Paycheck. One of very few times an Americanised title works better. cheesy
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorTimmer
    • CommentTimeApr 8th 2014
    NP : TOO GAY TO DIE HARD - Marco Beltrami



    Good! Much more good than Rio 2.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorErik Woods
    • CommentTimeApr 8th 2014 edited
    Edmund Meinerts wrote
    Timmer wrote
    Please John Powell, move away from the cartoons eh? There's a good chap.

    I'll say what I always say when people bring this up - why? Modern-day animated movies, in a lot of ways, give their composers far more room to spread their wings.


    Bin-fucking-go! Listen to Edmund you will!

    beer

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  12. Steven wrote
    Timmer wrote
    Martijn wrote
    NP: The 25th Hour - Terenche Blanchard

    Very strong, dramatic score by jazz musician Blanchard.
    Great theme, well worked into a modern jazz arrangement in the last track "Double Happiness".
    Powerful stuff.


    I'm impressed by a lot of Blanchard's work. He'd be my choice to score a Bond film.


    Just behind Thomas Newman then?

    Here's hoping he'll do the sequel.
    •  
      CommentAuthorThor
    • CommentTimeApr 8th 2014 edited
    Edmund Meinerts wrote
    Another Paycheck would, of course, be a dream come true. As much as I love the Bourne scores, I wish that had been the one to spiral off a hundred imitators.


    It did. It's probably the most influential score of the 2000s.

    I want to see Powell return to more serious, non-animated fare too.
    I am extremely serious.
    • CommentAuthorAnthony
    • CommentTimeApr 8th 2014
    The only Paycheck imitator that immediately springs to mind is Source Code. It was Bourne that's was imitated like mad.
    •  
      CommentAuthorThor
    • CommentTimeApr 8th 2014 edited
    NP: ARBITRAGE (Cliff Martinez)

    Martinez can do no wrong, in my book. The world is full of textural soundscape scores, but he does it best! Such class, such appeal, such ethereal bliss.
    I am extremely serious.
  16. And even Source Code only has a few very short Paycheck "moments".

    There's a Two Steps From Hell track I quite like called "The Devil Plays a Smoking Trumpet" that seems to be an homage to Paycheck though.
    •  
      CommentAuthorThor
    • CommentTimeApr 8th 2014
    Never knew of any PAYCHECK influence, to be honest. SOURCE CODE is mostly an hommage to James Newton Howard's thriller sound of the 90s, with elements of 70s paranoia scores, Goldsmith and Horner here and there.
    I am extremely serious.
    • CommentAuthorTimmer
    • CommentTimeApr 8th 2014
    Erik Woods wrote
    Edmund Meinerts wrote
    Timmer wrote
    Please John Powell, move away from the cartoons eh? There's a good chap.

    I'll say what I always say when people bring this up - why? Modern-day animated movies, in a lot of ways, give their composers far more room to spread their wings.


    Bin-fucking-go! Listen to Edmund you will!

    beer

    -Erik-


    rolleyes Who said they didn't? A few of us are merely saying that we'd like to see John Powell move away from animated scores for awhile.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorTimmer
    • CommentTimeApr 8th 2014
    Kevin Scarlet wrote
    Steven wrote
    Timmer wrote
    Martijn wrote
    NP: The 25th Hour - Terenche Blanchard

    Very strong, dramatic score by jazz musician Blanchard.
    Great theme, well worked into a modern jazz arrangement in the last track "Double Happiness".
    Powerful stuff.


    I'm impressed by a lot of Blanchard's work. He'd be my choice to score a Bond film.


    Just behind Thomas Newman then?

    Here's hoping he'll do the sequel.


    Mendes is on board. Newman got an Oscar nod. I can't see anything stopping a return.

    unfortunately
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  20. Timmer wrote
    Kevin Scarlet wrote
    Steven wrote
    Timmer wrote
    Martijn wrote
    NP: The 25th Hour - Terenche Blanchard

    Very strong, dramatic score by jazz musician Blanchard.
    Great theme, well worked into a modern jazz arrangement in the last track "Double Happiness".
    Powerful stuff.


    I'm impressed by a lot of Blanchard's work. He'd be my choice to score a Bond film.


    Just behind Thomas Newman then?

    Here's hoping he'll do the sequel.


    Mendes is on board. Newman got an Oscar nod. I can't see anything stopping a return.

    unfortunately

    Indeed. slant
  21. Edmund Meinerts wrote
    Timmer wrote
    Kevin Scarlet wrote
    Steven wrote
    Timmer wrote
    Martijn wrote
    NP: The 25th Hour - Terenche Blanchard

    Very strong, dramatic score by jazz musician Blanchard.
    Great theme, well worked into a modern jazz arrangement in the last track "Double Happiness".
    Powerful stuff.


    I'm impressed by a lot of Blanchard's work. He'd be my choice to score a Bond film.


    Just behind Thomas Newman then?

    Here's hoping he'll do the sequel.


    Mendes is on board. Newman got an Oscar nod. I can't see anything stopping a return.

    unfortunately

    Indeed. slant


    Good. cool
    Bach's music is vibrant and inspired.
  22. Timmer wrote
    NP : RIO 2 - John Powell


    *phew!* I don't know how much longer I can put up with this one? Like Thor, I'm finding this one too mickey-mousey. There's some nice breezy moments but they seem to be all too brief, the score also uses one of my favourite Brazilian singers, Milton Nascimento, but here it's nearly a waste of time and probably no more than an exercise to get some Brazilian talent involved. rolleyes

    Please John Powell, move away from the cartoons eh? There's a good chap.


    I wasn't that impressed with this one either. It's actually not that special, and the highlights are for me the moment he returns to the first RIO. While a sequel needs to add something that elevates the original

    pfff, nothing remotely special save for an occasional moment here and there
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
    • CommentAuthorTimmer
    • CommentTimeApr 8th 2014
    NP : DIVERGENT - Junkie XL



    Ellie Goulding's vocals are nice.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  24. Alan Silvestri - Cosmos: Vol. 2

    First listen, but I do like it. I like how Silvestri takes his more epic sound, but also manages to make it somewhat more atmospheric.
    http://www.filmmusic.pl - Polish Film Music Review Website
    • CommentAuthorTimmer
    • CommentTimeApr 8th 2014
    Timmer wrote
    NP : DIVERGENT - Junkie XL



    Ellie Goulding's vocals are nice.


    There's a few good moments but on the whole it's yet another waste of my time.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  26. Timmer wrote
    Timmer wrote
    NP : DIVERGENT - Junkie XL



    Ellie Goulding's vocals are nice.


    There's a few good moments but on the whole it's yet another waste of my time.


    you said, the opening 5 minutes are for me the best of the album.
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
    • CommentAuthorTimmer
    • CommentTimeApr 8th 2014
    Yes I agree. Even that sounds like it's influenced by the better "bits" of Zimmer's Man of Steel.....or did Mr Junkie write that as well?
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  28. Timmer wrote
    Yes I agree. Even that sounds like it's influenced by the better "bits" of Zimmer's Man of Steel.....or did Mr Junkie write that as well?


    I heard a lot of Man of Steel in it. Or it was heavenly influenced by it, or Junkie wrote more than what we thought for Man of Steel?

    Ahh, other and better I say
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
  29. Timmer wrote
    Yes I agree. Even that sounds like it's influenced by the better "bits" of Zimmer's Man of Steel.....or did Mr Junkie write that as well?


    Junkie XL did work on Man of Steel, as a composer. He also conducted the drum sessions.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorSouthall
    • CommentTimeApr 8th 2014
    Paycheck - John Powell

    Most entertaining.
    http://www.movie-wave.net | http://facebook.com/moviewave

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