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[Closed] Now Playing XLVII

General Discussions » Now Playing XLVII (Posts 1861 to 1890 of 3340)

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    • CommentAuthorTimmer
    • CommentTimeJan 2nd 2015 edited
    Steven wrote
    Timmer wrote
    I only saw Twilight Zone The Movie once which as I remember was a mixed bag ( a tragic and troubled production, Vic Morrow was beheaded on set and two young actors lost their lives when a helicopter stunt went wrong ) with the Nightmare at 30.000 feet being the best bit.


    I watched it t'other day as the accident story intrigued me.

    I enjoyed it! Wonderfully 80s feel to it. I loved Joe Dante's cartoon house section, particularly when the kid summoned the cartoon. Very silly but quite sinister at the same time.

    I didn't like Spielberg's sappy segment, even though musically it's my favourite bit (I think the cartoon house was probably the most interesting musical segment). Cut that bit out and you've got a decent 80s horror film.


    Cripes! How did I forget that segment? It was sort of Warner Brothers cartoons on bad acid and I remember now that one of the characters was made to shut up by making his?/Her? mouth disappear, the kid had I can do anything I want powers so could do whatever he wanted with everyone creeping around him. ( I'm sure there's a Simpson's or Family Guy episode that parodies this? )

    I remember thinking the Kick The Can segment being saccharine and maudlin. The Vic Morrow segment was edited well considering what happened. We'll never know how it would have looked had it been resolved according to script.

    The score is fantastic and Kick The Can benefits from arguably the best music in the film. I'll just put a hypothetical question out there, can anyone think of a Steven Spielberg film where they may have preferred a Jerry Goldsmith score?
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorSteven
    • CommentTimeJan 2nd 2015
    Timmer wrote

    Cripes! How did I forget that segment? It was sort of Warner Brothers cartoons on bad acid and I remember now that one of the characters was made to shut up by making his?/Her? mouth disappear, the kid had I can do anything I want powers so could do whatever he wanted with everyone creeping around him. ( I'm sure there's a Simpson's or Family Guy episode that parodies this? )


    There could well be, especially as Nancy Cartwright herself was in that section (looking very young). The cartoon monster was essentially Taz-Mania that morphed into more twisted versions of itself, as well as a giant, creepy rabbit in a scene beforehand. Crikey, I loved it!
    • CommentAuthorTimmer
    • CommentTimeJan 2nd 2015
    You've made me want to see it again.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorErik Woods
    • CommentTimeJan 2nd 2015
    Timmer wrote
    The score is fantastic and Kick The Can benefits from arguably the best music in the film. I'll just put a hypothetical question out there, can anyone think of a Steven Spielberg film where they may have preferred a Jerry Goldsmith score?


    Nope!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorSteven
    • CommentTimeJan 2nd 2015
    Preferred? No. Would love to have heard anyway? All of them (of course!). Which one the most? ET.
    • CommentAuthorTimmer
    • CommentTimeJan 2nd 2015
    Erik Woods wrote
    Timmer wrote
    The score is fantastic and Kick The Can benefits from arguably the best music in the film. I'll just put a hypothetical question out there, can anyone think of a Steven Spielberg film where they may have preferred a Jerry Goldsmith score?


    Nope!

    -Erik-


    Though I'm inclined to agree I'll have a good think on this tomorrow. I am just playing devil's advocate here.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorErik Woods
    • CommentTimeJan 2nd 2015
    I think we all know by watching Poltergeist that Goldsmith would have been a perfect fit with Spielberg. But there really is nothing else that comes to mind where I'm like "yeah, what would have a Goldsmith score sounded like here."

    If I had to pick one... maybe Jaws. Would Goldsmith have come up with something as iconic as Williams' two-notes?

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  8. Goldsmith himself said that he wished he scored Schindler's List and sometimes I am somehow curious.

    Actually, the project that would have fitted Goldsmith so well would have been The Lost World.

    What I am REALLY curious about is what would have happened to his career had Goldsmith been available to score Superman, as Donner wanted after The Omen.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorThor
    • CommentTimeJan 2nd 2015
    Personally, I've never been interested in all the 'what ifs' -- but I notice that it's something that is popular in film music communities (speculation about upcoming releases, what if this composer had scored that etc.).

    I prefer to focus on what actually exists.
    I am extremely serious.
    •  
      CommentAuthorSteven
    • CommentTimeJan 2nd 2015
    Says the Christian.
    •  
      CommentAuthorThor
    • CommentTimeJan 2nd 2015
    Well, faith exists -- whether or not you believe in the object of faith!
    I am extremely serious.
    •  
      CommentAuthorSteven
    • CommentTimeJan 2nd 2015
    •  
      CommentAuthorErik Woods
    • CommentTimeJan 2nd 2015
    Thor wrote
    Personally, I've never been interested in all the 'what ifs' -- but I notice that it's something that is popular in film music communities (speculation about upcoming releases, what if this composer had scored that etc.).

    I prefer to focus on what actually exists.


    Yet, still feels that he must comment on it anyway. rolleyes

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorThor
    • CommentTimeJan 2nd 2015 edited
    Of course. Why not? It's a fascinating phenomenon.
    I am extremely serious.
  15. God forbid that someone would want to give an alternate (though negative) opinion. What do you think you're playing at Thor?
    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
  16. I find it interesting to make a comparison when a film does have two different scores, like Legend or Duel. It highlights the importance of the score for the overall film experiance.

    Volker
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorErik Woods
    • CommentTimeJan 2nd 2015 edited
    -DELETED-

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorThor
    • CommentTimeJan 2nd 2015 edited
    NP: THE LOST EMPIRE (John Altman)

    Very old-school and the album is much too long, but there's some great material here that should please most 'traditionalists'. Wish it could relax a bit more.
    I am extremely serious.
    •  
      CommentAuthorThor
    • CommentTimeJan 4th 2015 edited
    NP: SELENA (Johan Söderqvist)

    The film received a lot of flack (haven't seen it), but Johan's score is nice, as always. Has that rural Thomas Newman vibe going on.
    I am extremely serious.
    •  
      CommentAuthorScribe
    • CommentTimeJan 4th 2015
    Erik Woods wrote
    -DELETED-

    -Erik-


    Damn I missed the drama biggrin
    I love you all. Never change. Well, unless you want to!
    •  
      CommentAuthorScribe
    • CommentTimeJan 4th 2015
    Steven wrote
    http://i.imgur.com/1GUsGtt.jpg


    Perfect.
    I love you all. Never change. Well, unless you want to!
  22. Morning's at Seven / At the Hight of the Moon (1967) - James Last

    James Last did not write much more than the title tunes of these German TV productions, but those became real classics.
    Eric Malpass' "Mornig's at Seven" was huge in Germany and is well konwn even today. I heard the book wasn't that successful in Britain.

    Volker
    Bach's music is vibrant and inspired.
  23. "Short Cicuit"
    David Shire


    I had remembered liking the score, but it's been probably a decade since I heard it. I don't have the Varese Club CD, all I have is the old boot, so I popped it in to see what was what.

    Turns out I still think it's a good score. It's got some good orchestral moments, but sadly that synth work for the robot character is rather dated in some ways and needlessly simple (consider what Goldsmith was doing with synths at the time).

    A really good suite or two could be made from the score. One day when I aquire the CD, that's exactly what I'm going to do.
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
    • CommentAuthorTimmer
    • CommentTimeJan 4th 2015
    Captain Future wrote
    Morning's at Seven / At the Hight of the Moon (1967) - James Last

    James Last did not write much more than the title tunes of these German TV productions, but those became real classics.


    I'm familiar with Morning At Seven, it was regularly played on BBC Radio 2 back in the day ( when Radio 2 was the easy listening channel ), it's a lovely little tune.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  25. "Night Sins"
    Mark Snow


    This was a 1997 TV movie about a female F.B.I. investigator blah blah blah, F.B.I. Agent Scully, blah blah blah. That's what you were all thinking.


    Anyway, the score is pure "The X-Files", like 97% or higher. It's even got lifts from some of the episode scores. If you just burned a CD-R and labeled it "Unreleased X-Files scores" and handed it to a fellow lover of the scores, he'd fall for it. It's also got a slight mix of "MillenniuM" to it.

    The finale cue, over nine minutes long, encompasses nearly everything Snow did so well in his style of scoring during the period. It's kind of like a musical journey, with a start, middle, and finish.


    It's definitively my cup of tea. If you have score CD's from TX-Fs, then you should hunt this down. The questions is which you want: the longer promo or the shorter version from BuySoundtrax.


    Some of this honestly makes perfect quiet Christmas music (since some of it does lift from the Christmas epsiode of "The X-Files"). I think I'm going to make myself a Christmas suite.
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
  26. "A Far Off Place"
    James Horner


    It's been many years since I listened to this. The last time I sort of re-visited some of it after some comments at ... gee, must have been a now playing thread at the defuct ScoreReviews.com. I didn't really get into it and siwtched it off.

    Now, I'm giving it a second chance, since Intrada just did it, to see if its something to seek out. I've had the long boot for a long time and it's about time I give the score a full listen.


    It's a very subdued score for the most part. Quiet, some different orchestration choices here and there, some Horner traits like rumbling lower octive piano, but for the most part it doesn't sound like a Horner score -- something other people have been saying.

    i count at least five orchestrators, some of which on IMDb are listed for additional music. I don't think we'll known publically (at least) what happened with this score for some time. Perhaps he was just too busy. The later half of 2012 and 1993 had about a dozen scores. The following years he reduced the number of films he scored.
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
    •  
      CommentAuthorErik Woods
    • CommentTimeJan 4th 2015
    justin boggan wrote
    A really good suite or two could be made from the score. One day when I aquire the CD, that's exactly what I'm going to do.


    Someone already created a suite. Check it out! The guy who edited it is a genius!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  28. Erik Woods wrote
    justin boggan wrote
    A really good suite or two could be made from the score. One day when I aquire the CD, that's exactly what I'm going to do.


    Someone already created a suite. Check it out! The guy who edited it is a genius!

    -Erik-


    biggrin You might say so.
    Bach's music is vibrant and inspired.
    • CommentAuthorDavid OC
    • CommentTimeJan 6th 2015
    Good Will Hunting - Danny Elfman

    Nice to have the full release even if it's relatively minor Elfman. There's certainly some subtleties to it that become obvious the more you listen, though I'd still cull 8-10 minutes of the 30 to pare it back to its essential cues.
    https://2020filmsight.wordpress.com https://screenfanaticblog.wordpress.com
    •  
      CommentAuthorErik Woods
    • CommentTimeJan 6th 2015
    Minor Elfman? Excuse me? Good Will Hunting is, IMO, one of his finest accomplishments. A gorgeous score that compliments a BRILLIANT film!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!

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