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General Discussions » Now Playing L (Posts 1711 to 1740 of 4868)

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  1. Southall wrote
    Starship Troopers BasilP

    Wow! Magnificent. One of the last real big, orchestral action scores which has a bag full of memorable themes?


    As an expansion it works beautifully, there's just so much more to enjoy this time. It's balls to the walls goosebump brilliance. In fact I'll play this one too this week haha.

    Captain Future wrote
    NP: The Living Daylights (1998) - John Barry; A-Ha

    Exercise at Gibraltar and Hercules Takes Off are among the Bondiest Bond cues ever!

    cool Volker


    The entire score is one of the Barriest Bond scores ever. biggrin

    Not a single second of TLD is anything less than stellar. love
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
  2. THE MIGHTY - Trevor Jones

    Wondrously magical and gorgeous. Heartstrings are being pulled during 'My Noble Knight'.
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
    •  
      CommentAuthorSouthall
    • CommentTimeAug 28th 2017
    Gladiator Hans Z

    Pretty dated now but still a fine piece of entertainment.
    http://www.movie-wave.net | http://facebook.com/moviewave
  4. I listened to that one just a few days ago.

    I wouldn't say dated at all. From another time yes. From a better Zimmer time definitely.

    Awesome score !
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
  5. DreamTheater wrote
    I wouldn't say dated at all. From another time yes.

    Didn't you just contradict yourself? tongue

    DreamTheater wrote
    From a better Zimmer time definitely.

    That I won't disagree with. Wonder if he'll ever come back. sad
    •  
      CommentAuthorAidabaida
    • CommentTimeAug 28th 2017
    Southall wrote
    Gladiator Hans Z

    Pretty dated now but still a fine piece of entertainment.


    love the score, but I have to list to other orchestral recordings of "The Gladiator Waltz", because the album version is so synthy and cheap.
    Bach's music is heartless and robotic.
  7. Synthesizers aren't cheap. They can be pretty costly.

    wink I know of course, that this is not, what you mean to say. But I don't consent, that the use of synthesizers makes a recording sound less classy than a pure orchestral recording. It maybe makes it sound less timeless. Still I prefer the eery feel of the synth choir in Horner's Titanic to the real live choir version, Varese did.

    Volker
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorThor
    • CommentTimeAug 29th 2017
    No doubt. I love Zimmer mainly because of his great blend of orchestra and synths, and so I think the original GLADIATOR is superior to all other rerecordings I've heard (also because it wasn't conceived with an orchestra-only ensemble in mind, even if it works reasonably well in that format too).
    I am extremely serious.
    • CommentAuthorDavid OC
    • CommentTimeAug 29th 2017
    Under Siege 2 - Basil Poledouris

    This extended release is a stunning revelation. So much brilliant music necessarily left off the original cd and, quite literally, there's not a boring moment throughout.
    https://2020filmsight.wordpress.com https://screenfanaticblog.wordpress.com
  10. Conan The Barbarian Poledouris

    I'm having a real 'Conan the Barbarian' day today, I just can't seem to stop listening to it. I started with the Naxos organ re-recording which I think works surprisingly well and also manages not to overstay it's welcome, even at over an hour in length. I then Listened to the Nic Raine conducted re-recording from 2010 which is just a wonderful alternate interpretation to have and I'm now listening to some select cues from the original film tracks on the Intrada release.

    I think this is one of the greatest film scores of all time and it's great that there are so many different ways to experience it. It is an embarrassment of riches with so many stunning cues but today I've been particularly moved by the cue 'recovery'. I've always loved this cue, ever since I finally got my hands on a copy of the expanded varese release many years ago and hoovered up all the music that was new to me. It's such a heartbreakingly beautiful melody but the orchestration and the way that it builds but yet manages to still stay intimate is pure genius.
  11. Star Wars Williams

    What a thrill it must have been to unexpectedly hear this for the first time in the cinema in 1977!
  12. John Chambers wrote
    Star Wars Williams

    What a thrill it must have been to unexpectedly hear this for the first time in the cinema in 1977!

    Yes, it was thrilling! Though I was familiar with Williams' score prior to seeing the film having worn out a cassette of the score that I had got at Christmas.
    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
  13. John Chambers wrote
    Star Wars Williams

    What a thrill it must have been to unexpectedly hear this for the first time in the cinema in 1977!

    I imagine that opening blast will have caused a few minor heart attacks.
  14. Edmund Meinerts wrote
    DreamTheater wrote
    I wouldn't say dated at all. From another time yes.

    Didn't you just contradict yourself? tongue


    I definitely did not.

    Then again, perhaps I may have.

    tongue

    I would never call Star Wars dated, but it's from another time, from a writing standpoint, where films and its creators embraced that robust, big, in your face sound that is missing in modern cinema.
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
    •  
      CommentAuthorAidabaida
    • CommentTimeAug 29th 2017
    Captain Future wrote
    Synthesizers aren't cheap. They can be pretty costly.

    wink I know of course, that this is not, what you mean to say. But I don't consent, that the use of synthesizers makes a recording sound less classy than a pure orchestral recording. It maybe makes it sound less timeless. Still I prefer the eery feel of the synth choir in Horner's Titanic to the real live choir version, Varese did.

    Volker


    that reminds me of this Harry-Gregson Williams interview where he was talking about working for Zimmer in the early days, when they had no money and no equipment, and Zimmer told him to go buy like 20 of these synthesizers, and they had literally no money to do it, and they were working out of their bedrooms.

    man that sounds fun.
    Bach's music is heartless and robotic.
  16. That was Harry Gregson-Williams? I'd have thought he joined (via Stanley Myers) when Zimmer's position was fairly good in the industry (as in, his first work for MV was when he conducted Crimson Tide... after Hans got his Oscar).
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorSteven
    • CommentTimeAug 29th 2017
    The Perfect Storm James Horner

    The phrase 'There are few composers would write X' is often applied, but it certainly applies here: There are few composers who would write such a large scale, symphonic work for an action film. These aren't so much cues as movements. Has anyone else ever written an action score like this? I suppose Goldsmith's Total Recall comes to mind, but even that (as perfect as it is) doesn't cover as much ground as this score, in terms of its tone.

    This, to me, is the perfect amalgamation of Horner's post-80s style. A top ten, maybe top five, score.

    Yes, I realise I said perfect three times. Now four.
    •  
      CommentAuthorAidabaida
    • CommentTimeAug 29th 2017
    PawelStroinski wrote
    That was Harry Gregson-Williams? I'd have thought he joined (via Stanley Myers) when Zimmer's position was fairly good in the industry (as in, his first work for MV was when he conducted Crimson Tide... after Hans got his Oscar).


    Maybe he was stretching things for the interview, but it didn't sound like it. If I find it I'll link it.
    Bach's music is heartless and robotic.
  19. I'm just a bit surprised, because from what I understand it wasn't that much far off from the situation Hans was in in 1988 with Rain Man being famously composed in the editing suite and mixed literally in a rented apartment (that's how Media Ventures started), but Harry Gregson-Williams didn't work there before 1995 when Myers recommended him to Hans as a choral conductor for Crimson Tide.

    And please link it smile .
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorThor
    • CommentTimeAug 29th 2017 edited
    NP: W.E. (Abel Korzeniowski)

    Wonderful score. This is a 17-track promo release, and I've been unable to find track titles online. Could anyone help? I've only found the regular 12-track release and the 27-track promo. Nothing like this....(but at 46 minutes, it seems to be the same length as the 27-track one).
    I am extremely serious.
  21. NP: The abovely mentioned score.

    The commercial release runs 47 minutes including the Madonna song. Could it all be more or less the same?
    And yes: The score is wonderful.

    Volker
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorBobdH
    • CommentTimeAug 29th 2017 edited
    Thor wrote
    NP: W.E. (Abel Korzeniowski)

    Wonderful score. This is a 17-track promo release, and I've been unable to find track titles online. Could anyone help? I've only found the regular 12-track release and the 27-track promo. Nothing like this....(but at 46 minutes, it seems to be the same length as the 27-track one).


    Got the same promo. The tracklisting is as follows. Abel probably lost inspiration at 12 and 15?

    1. Charm / Cartier Montage
    2. Duchess of Windsor
    3. Abdication
    4. I Will Follow You
    5. Diner
    6. Auction 2
    7. Drive to Belvedere
    8. Evgeni Date
    9. Six Hours
    10. Evgeni Runs
    11. Brooklyn Faces
    12. Track 12
    13. Apartment
    14. Satin Birds
    15. Track 15
    16. Letters
    17. Park
    •  
      CommentAuthorAidabaida
    • CommentTimeAug 29th 2017 edited
    PawelStroinski wrote
    I'm just a bit surprised, because from what I understand it wasn't that much far off from the situation Hans was in in 1988 with Rain Man being famously composed in the editing suite and mixed literally in a rented apartment (that's how Media Ventures started), but Harry Gregson-Williams didn't work there before 1995 when Myers recommended him to Hans as a choral conductor for Crimson Tide.

    And please link it smile .


    i think it was this one. https://www.youtube.com/watch?v=TYPojRh7Umg But i don't remember where. I'll watch it through later.
    Bach's music is heartless and robotic.
    •  
      CommentAuthorThor
    • CommentTimeAug 29th 2017
    BobdH wrote
    Thor wrote
    NP: W.E. (Abel Korzeniowski)

    Wonderful score. This is a 17-track promo release, and I've been unable to find track titles online. Could anyone help? I've only found the regular 12-track release and the 27-track promo. Nothing like this....(but at 46 minutes, it seems to be the same length as the 27-track one).


    Got the same promo. The tracklisting is as follows. Abel probably lost inspiration at 12 and 15?

    1. Charm / Cartier Montage
    2. Duchess of Windsor
    3. Abdication
    4. I Will Follow You
    5. Diner
    6. Auction 2
    7. Drive to Belvedere
    8. Evgeni Date
    9. Six Hours
    10. Evgeni Runs
    11. Brooklyn Faces
    12. Track 12
    13. Apartment
    14. Satin Birds
    15. Track 15
    16. Letters
    17. Park


    Brilliant! Thank you so much.
    I am extremely serious.
    •  
      CommentAuthorAidabaida
    • CommentTimeAug 29th 2017 edited
    just completed the 2 hours of No Man's Sky soundtrack. What an emotional score. Really creative use of piano in amongst the sound design and heavy rock. A difficult listen, but a hypnotic one....think phillip glass if phillip glass was a metalhead who really like distortion.....
    Bach's music is heartless and robotic.
    •  
      CommentAuthorDemetris
    • CommentTimeAug 30th 2017
    DreamTheater wrote
    THE MIGHTY - Trevor Jones

    Wondrously magical and gorgeous. Heartstrings are being pulled during 'My Noble Knight'.


    Absolutely agree. Love Trevor Jones' music.Very sad he's no longer into film music since long time now. We'd really need his unrestrained, passionate orchestral writing esp.for strings' section.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorDemetris
    • CommentTimeAug 30th 2017
    Aidabaida wrote
    Southall wrote
    Gladiator Hans Z

    Pretty dated now but still a fine piece of entertainment.


    love the score, but I have to list to other orchestral recordings of "The Gladiator Waltz", because the album version is so synthy and cheap.


    My oh my absolutely love Gladiator. With TTRL and INTERSTELLAR, his top three scores ever.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorDemetris
    • CommentTimeAug 30th 2017
    n.p. Blake Neely- elvis and annabelle

    Sweet, nostalgic, small scale with smooth synths ambiance, guitar, acoustic instruments, piano. Somewhat reminded me of klaus badelt and zimmer's the pledge. Have no idea what's the movie/story about though. anyone seen it?
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorDemetris
    • CommentTimeAug 30th 2017
    n.p. don davis-the matrix

    say what you want about today's film music and surely there's a lot we like of course, but they don't make film scores like this anymore. Mindblowingly fantastic stuff.
    Love Maintitles. It's full of Wanders.
  30. They never really made film scores like that, did they? Something like The Matrix would have been one of a kind in any era that it came out. It's not like the 90s were full of that sort of thing either, basically just Matrix and a few Elliot Goldenthal scores. Other than maybe a period in like the late 60s, early 70s, that sort of modern concert music-inspired stuff never really broke through into mainstream film music.

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