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[Closed] Now Playing - Part XXI
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- CommentTimeDec 9th 2007
NP:The Haunting (Goldsmith)
Not bad, not bad.... -
- CommentTimeDec 9th 2007
N.P. ALAN SILVESTRI - Beowulf
See the Alan Silvestri thread
Oh and i now laugh even more with people saying Beowulf is bad; after having been over 2 listens of Zanelli's "HITMAN"Love Maintitles. It's full of Wanders. -
- CommentAuthorPawelStroinski
- CommentTimeDec 9th 2007
OK, Demetris. I don't like Beowulf.
But remember that Hitman is Zanellihttp://www.filmmusic.pl - Polish Film Music Review Website -
- CommentTimeDec 9th 2007
PawelStroinski wrote
OK, Demetris. I don't like Beowulf.
But remember that Hitman is Zanelli
Well that's a fair point indeed; but have you watched the movie? Beowulf?Love Maintitles. It's full of Wanders. -
- CommentTimeDec 9th 2007
I agree. Watching the movie so totally helps to appreciate atmosphere and style of this score. -
- CommentAuthorPawelStroinski
- CommentTimeDec 9th 2007
Actually, the score recommended me against the movie.
And I'm not a very big Silvestri fan too.http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentTimeDec 9th 2007 edited
Well you might actually want to save your final judgment after you've seen the movie? Not sure if it's going to change it for you but admittedly ir DOES elevate the movie greatly, works wonders within it and pumps adrenaline hugely. If i was to re-review Beowulf after i've watched the movie, my 3 1/2 would easily be a solid 4 no questions askedLove Maintitles. It's full of Wanders. -
- CommentTimeDec 9th 2007
The only reason why I could go to see the movie is for Silvestri's score. It is not a masterpiece, but it's pretty damn cool.
NP:The Golden Compass
The only why i could go to see the movie too....Well, it's not true, for chris Weitz too...
Anyway...Demetris, What you expexted from this score? Why are you dissapointed?? -
- CommentTimeDec 9th 2007
PawelStroinski wrote
Actually, the score recommended me against the movie.
That´s a true shame.
And I'm not a very big Silvestri fan too.
That´s an even bigger shame. You don´t like Back to the Future, The Abyss, or The Mummy returns? -
- CommentTimeDec 9th 2007 edited
Nautilus wrote
NP:The Golden Compass
The only why i could go to see the movie too....Well, it's not true, for chris Weitz too...
Anyway...Demetris, What you expexted from this score? Why are you dissapointed??
Well mate, it's not a bad score; but it's not something i'd want to hear from Desplat. I primarily expected it to be way firmer on thematic structure, way more melodic and less mickey-mousey / standard fantasy score-y. It comes around way too complex for what i normally like from Desplat whilst he tries to do so many different things simultaneously and looses focus. Of course everything is well-done and well-worked, complex and advances (esp. arrangement-wise) but that doesn't tell me anything. I have to say that for a Desplat score, it's surprisingly loose on melody and clear-cut, direct themes. There are so many of them in brief appearances and well-hidden, i don't see why.
For me, Desplat is LUST, CAUTION, GIRL WITH A PEARL EARRING, BIRTH, THE UPSIDE OF ANGER, THE PAINTED VEIL, stuff like that; i can only dream of what could THE GOLDEN COMPASS have been, had he been a little more himself and taken the afore-mentioned brilliance one step further into a dark fantasy world.Love Maintitles. It's full of Wanders. -
- CommentTimeDec 9th 2007
Christodoulides wrote
HANS ZIMMER | I'll do anything
Sax, strings, clarinet, flutes, soft drums, marimbas and synths, gospel vocals, synth organ, guitars, pianos; the kind of deeply organic, uplifting and nostalgic Zimmer scores (which he later expanded into beautiful stuff like SPANGLISH / THE HOLIDAY) you just can't get enough of!
Wow I listened to that like 6 hours later...I love you all. Never change. Well, unless you want to! -
- CommentTimeDec 9th 2007
Scribe wrote
Christodoulides wrote
HANS ZIMMER | I'll do anything
Sax, strings, clarinet, flutes, soft drums, marimbas and synths, gospel vocals, synth organ, guitars, pianos; the kind of deeply organic, uplifting and nostalgic Zimmer scores (which he later expanded into beautiful stuff like SPANGLISH / THE HOLIDAY) you just can't get enough of!
Wow I listened to that like 6 hours later...
You liked it i guess?Love Maintitles. It's full of Wanders. -
- CommentAuthorTimmer
- CommentTimeDec 9th 2007
NP : UNTIL SEPTEMBER - John Barry
One of Barry's loveliest scores, diverse and full of melody.
On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorPawelStroinski
- CommentTimeDec 9th 2007
Ralph Kruhm wrote
PawelStroinski wrote
Actually, the score recommended me against the movie.
That´s a true shame.
And I'm not a very big Silvestri fan too.
That´s an even bigger shame. You don´t like Back to the Future, The Abyss, or The Mummy returns?
As I said I'm not a *very big* Silvestri fan and I must admit not to have heard both Abyss and BttF. Mummy Returns I really like. And Forrest Gump. I found Cast Away quite good though. It's the rest that rather disappoints me with the composer being loud without much substance to me.http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentTimeDec 9th 2007 edited
NP: SHOOT 'EM UP - Paul Haslinger
Mostly uninspired underscore, probably because all the big, wild, inventive shootouts were accompanied by the rocksongs, with Hasslingers score as filler in between. It can't really captivate me. -
- CommentTimeDec 9th 2007
NP Hitman (Geoff Zanelli)
I think it has all been said, so I´ll only sayAnything with an orchestra or with a choir....at some point will reach you -
- CommentAuthorPawelStroinski
- CommentTimeDec 9th 2007
Geoff is somebody to look forward to thenhttp://www.filmmusic.pl - Polish Film Music Review Website -
- CommentAuthorTimmer
- CommentTimeDec 9th 2007
NP : STAR CRASH - John Barry
Dafty sci-fi film with a Bond'ish score, it's not great but it does have it's moments with some tracks being truly lovely.
Hey DRemember we were talking about bad films ruinning the enjoyment of great scores? Well, though this isn't great it's still lightyears beyond what this film deserves. On a table of crap films this is off the friggin graph!
What the f**k was Barry thinking when he took this job on?On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorPawelStroinski
- CommentTimeDec 9th 2007
I think he wanted to do such a SF project or was friends with the producer.http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentTimeDec 9th 2007
NP: A very LOUD and FANTASTIC gift by one of my fellow board members. -
- CommentTimeDec 9th 2007 edited
NP: HITMAN - Geoff Zanelli
Oh man, haha, this is indeed such a shameless ripoff of Powells brilliant Bourne motivs and themes that it's enough to make me go
Yet... when you get past that irritation... I gotta admit that I do like it more then the snooze that was Shoot 'Em Up... Besides, I can't see how this is any less derivative then Steve Jablonsky's ripfest, Transformers (well, okay, at least he ripped several other scores off, instead of focusing on just one composer).
It's all shamelessly unoriginal, and they're all bloody thieves of the talent of their colleagues, but taken that in account... Hitman is enjoyable at times...
Do I go to hell now? -
- CommentTimeDec 9th 2007
BobdH wrote
Do I go to hell now?
Apparently only if you watch The Golden Compass!'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn -
- CommentTimeDec 9th 2007
Martijn wrote
Apparently only if you watch The Golden Compass!
Ah, I'm good then, didn't plan to watch something as satanic as that anytime soon. I'll stick to The Passion of the Christ -
- CommentTimeDec 9th 2007
NP: Dracula-John Williams
This was a transfer for me to CD from my vinyl (1979 I think).listen to more classical music! -
- CommentAuthorPawelStroinski
- CommentTimeDec 9th 2007
Brian Tyler - Partition
Quest for finding a talent of this composer continues. The theme is decent, but still nothing really as good as something John Barry would do, even if it refers him. There are also some Zimmer references too, which aren't too strange to me after some experience with Tyler.
So he is still one of the biggest disappointments I have with the film scoring genre and that *also* regards my opinion whether he's got talent or not. For me, nothing much...http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentTimeDec 9th 2007
BRIAN TYLER - Alien Vs Predator: Requiem
What an absolutely arousing, energetic and kick-ass score this is! Can't get enough of it and i've been playing it non-stop for 2 days now. Pawel, i think my neighbors will probably agree with you against TylerLove Maintitles. It's full of Wanders. -
- CommentAuthorPawelStroinski
- CommentTimeDec 9th 2007
Energetic? Yes.
Arousing? Probably
Neighbor-irritating? - OH YES IT IS
Complex? Yes, it is
Loud? Yes.
With substance? Completely not.
Original? Completely not.
Intelligent? Completely not.
With satisfying resolution? Really, not
Demands much talent to write such stuff? With decent temp-track and good orchestrator? Not.
One of the best scores of the year? Completely not.
Could have been written by a much better composer for whom the same result would be regarded as average? Oh yes.
QEDhttp://www.filmmusic.pl - Polish Film Music Review Website -
- CommentTimeDec 9th 2007
Here we go againLove Maintitles. It's full of Wanders. -
- CommentAuthorfranz_conrad
- CommentTimeDec 9th 2007 edited
Once more unto the breach, dear friends. You guys go for the AvsPred 2 broadside, while I slip in under his Golden Compass radar. (Attack on 2 fronts!)
Christodoulides wrote
Of course everything is well-done and well-worked, complex and advances (esp. arrangement-wise) but that doesn't tell me anything.
Be careful what you wish for... is complex writing for something other than an action scene really that unimportant? Does it really 'tell you nothing'?
I have to say that for a Desplat score, it's surprisingly loose on melody and clear-cut, direct themes. There are so many of them in brief appearances and well-hidden, i don't see why.
There's plenty of direct themes (and you have a list!), whatever that term means. It's not as though it's Elgar's Enigma Variations, with a hidden theme never revealed directly in the work!
(Seriously, listen to the various themes - how is Mrs Coulter's theme not a description of an alluring but amoral woman? Or the Lyra theme the sound of an innocent child? Or the Iorek-Lyra theme a tender description of a bond between girl and... polar bear? They're all pretty straightforward in what they're describing, and the emotional significance of each.)
I think by direct, you mean they don't appeal to your emotions (yet)?
As to their being so many themes, it's that old genre staple that Erik can no doubt defend much better than I can, whereby characters in a legendary world (Star Wars, Lord of the Rings) are defined musically as well as by casting, make-up, etc. There are almost as many themes as characters, and the music tends to be a fast-shifting representation of those ideas. Now Desplat does not tend to write like that - there's a sense of it in The Painted Veil - but for the most part, he'll try to make each piece a meditation on one theme. But that just isn't the way these stories tend to be told musically.
So what he does instead is approach it with a measure of the subtlety for which he's famous. He's not Max Steiner, he's a lot closer to the John Williams of AI or the Star Wars prequels, scoring a film that moves quicker than either of those. When Mrs Coulter talks about how one survives in a world dominated by the Magisterium in 'Sky Ferry', the counterpoint of brass (Magisterium) and violin (Coulter's theme, in a form so arch that's it's hard to recognise it at first) is a demonstration of this personal compromise she goes through - a woman-who-gets-what-she-wants in a world of men who pride themselves on denying the desires of their flesh. And that's just 10-15 seconds of the score...
Say many things, but don't say you can't see why there's so many hidden variations of themes. There are story reasons for that. It's something to be respected, whether it makes for a good listening experience or not.
Perhaps you can answer for me this. What is it that makes Howard Shore's LOTR so much different than this, with all its many hidden motifs and themes and rumbling strings in-between etc? (Concentrate on the first chapter, and try to remember how you felt about the music of it before you saw the film back in December 2001.) About the only difference that comes to mind for me is that Desplat's writing is less linear, and both sound pretty average recording-wise for different reasons?
NP: Alien vs Predator 2 - 3 sample tracks
BTW Demetris - do you know when Kantelinen's Quest for a Heart, or Mongol, will be released?A butterfly thinks therefore I am -
- CommentAuthorPawelStroinski
- CommentTimeDec 9th 2007
That's how I feel about the disadvantages, D.
This score is very insubstantial, not very subtle in its references to Horner's Aliens (I don't know the Predator scores well enough to see if there are references to Silvestri's sound) except few reminiscences of one of the motifs from Aliens. The score is just loud without any intelligent play with dynamics (so necessary in horror scores, 77 minutes with 60 mins of action, 4 of theme, 13 of underscore, I know exaggerating here) doesn't feature enough build-up to make for a particularly good horror score in suspense-building matter). It doesn't end with a satisfying resolution to me, because it just ends on a bleak note after another action piece this time with some more underscore than usually. People listening to bunch of horror scores (especially such classics as Alien series) with very good orchestrators (and dammit, Tyler didn't co-orchestrate this one, he used Brad Warnaar and Robert Elhai among others, which *proves* my point - probably half of the horror orchestral effects are what Elhai devised with Goldenthal) could manage to pull it off. And had John Williams, deceased Jerry Goldsmith or even JNH wrote this work, he wouldn't be as praised as Tyler is, because they all had much better works in the same genre.
Point proven.http://www.filmmusic.pl - Polish Film Music Review Website