[Closed] Now Playing - Part XXI

Just a little bit

Ok ok, we won´t argue again about AVP2 / Brian Tyler, it´s Christmas after all
But seriously, if I think of action (musically speaking), is AVP2 what comes first to my mind. But hey, at least you like one track (I assume it´s "Decimation Proclamation"....which makes me wonder, there´s somebody that does not enjoy this particluar cue?).

Touché



Come on, give Tyler a break! This is a bit unfair, dontcha think? I DO think he is a talented composer, it´s plain and simply that you haven´t (already ) clicked with him



Ok, but this statement is a pure matter of taste. Is true that Tyler´s orchestrations and themes are, well, very Tylerish, and this will always be like that I´m afraid. But this is his own voice, which is obvious you don´t like. I, for instance, am not very fond on Goldenthal´s music, even if I can say he is a talented composer. But don´t look for me in the "Goldenthal" label in the cd store

OK, I was unfair about the guy having almost completely no talent, though reworking temp-track really isn't demanding. I do see a pretty fair reason to state that he may like doing that though. I believe it's even in what Demetris was saying about him.

Having moderate talent doesn't mean that he does as much there as, say, Giacchino. That's the grudge I have. Giacchino IS the return of orchestral, old-fashioned (in a good way, I am a fan of Golden Age and I am not against that sound, but there is a bad way to be old-fashioned). He's got enough to write a simple theme (often written for four chords and sometimes I find them rather Zimmerish, but that's another thing - chords, not themes), arrange for an orchestra. You guys tend to call Tyler one of the best guys working today and that's my problem with him, because I can really talk about guys like Mansell and don't go on about Sahara (Yes, Dodd orchestrated it), I'd wonder how many composers would be capable of doing something like The Fountain. Different genre? OK. But let's go somewhere different.

Let's take Aliens vs Predator. Aggressive, fully orchestral, Decimation Proclamation, etc. OK. Let's take the Decimation Proclamation piece. The string figure sounds like Zimmer to me, but let's not go into particular moments, I would catch a lot of reference, with the 7/8 bit being Goldsmithian, but screaming Rambo rather than Alien. There is a moment which I thought was very Tylerish. One score later I noticed it's Silvestri's Predator. Another thing to come. Fast and Furious. Cool thing, but hell, it sounds like Rabin with bigger ensemble. Annapolis sounds like Horner and Zimmer with even a typical Horner rhythm. Children of Dune's best pieces - Summon the Worms and Inama Mushif, sound like Goldsmith and Zimmer (Now We Are Free) respectively.

Now temp-track love. It has been done here a lot. But one question. Can't he LIKE it actually? Why? Because he's a fan. Never took that as a possibility? Tyler loves his homages. I think he admits that himself. You never put in a weak track in temp-track unless you are a f*cking idiot. Goldsmith, Horner and Silvestri? YEAH! Goldenthal? Even more. Legends of the Fall is regarded as one of Horner's best themes. Making a homage to it? Can it be bad? Yes and no. At once. It's great Tyler is a fan. He is a human being, gets a personality and a good one in our, fans', book. You could talk to Tyler about those references and he'd maybe call it subtle. But they're not always so subtle. Let's go further.

I've had such an obsession with looking for a style. The composer was Michael Giacchino, partly this is the reason behind my constant comparisons. Medal of Honor - amazing score, but I couldn't find his style there. That was the reason behind me hating Underground after my first listen (yes, Erik, I did hate MoH: Underground at my first listen). Frontline was much better. Then came The Incredibles. And I've heard Barry. OK, he's great technically, but where is Giacchino... And there comes Lost. Which, as ironic as it may be with such title, gives me the answers. I found his voice there. I loved Lost, then I was disappointed by M:I-3 (in fact I finished my first listen few months ago), then came Ratatouille, MoH: Airborne... After amazing Airborne, I got back to the originals. Whereas "pure Giacchino" in first MoH I found only in a harp figure in the second piece, there was much more of it in Underground, where you had a whole Lost-like piece with his trademark tremolo sul ponticello cello parts, which sound so wonderfully, almost, metallic. Frontline had Lost-like warm string writing, which also sounds great in Ratatouille and, of course, Airborne. I got that style. It came to me immediately. Now, by percussive writing, by string sound, by piano writing, by theme - I will recognize a Michael Giacchino score. I can't say so much about Brian Tyler. I will tell you that an action piece was written by Marco Beltrami, though I don't like him much, but I wouldn't differ Tyler. There are too much of the influences. Tyler doesn't SUCK. He isn't just as good as people tend to say he is. Unless he writes something that isn't full of homages, but sounds purely like him (and I know everything was written before, Giacchino managed to branch out though into a very strong voice), I will state this thing always. He's no Steve Jablonsky or Geoff Zanelli. But he's no Giacchino either.

Demetris, can you talk to your bosses on the uni if they couldn't accept my Tyler rants as a some kind of thesis, because I tend to go into Ph. D. there

Wow Pawel, your posts are elaborated and interesting, I give you that (even I won´t change my mind about Tyler, and I won´t change yours! ). But really, you can hear Tyler´s voice in ALL his works. Love for temp tracks? Yes, sometimes, and you´ve given some examples in previous posts, and we´ve all heard those through the years. But this is far from considdering him untalented and only a "temp-tracker" composer. One of the best composers today? Well, that would be an eternal discusison. For me, he is (even if there are composers today which I like much more). For you he isn´t, and you´ve given plenty of elaborated reasons which I obviously respect and read carefully (hey, you always learn from others opinions).
Maybe someday (just remember how young Tyler is), just maybe, he´ll write something that "touches" you. It has happened to me with composers that I didn´t care about and now are among my favs (Patrick Doyle comes to mind).



I didn´t go to the First Úbeda´s Conference, when Tyler came, but for the footage I´ve seen from that Congress, I have no doubt about what you say Demetris.

Hans Zimmer - Crimson Tide

Enough said. Great thriller (thriller. not action) score, though Jeff Rona should never get an album compilation assignment again. 24 minute track of mostly underscore is something I barely survive, but the score (one of Zimmer's very best in-film scores) is worth it. The theme, decent orchestrations (better than his later fare sometimes, I won't go about King Arthur, but I'd say better than The Rock and, maybe sometimes, Peacemaker) and action music saves for the underscore at times. Oh, and the choral writing...

NP : THE LION IN WINTER - John Barry



One of THE great choral scores and with Christmas flavour

This one is from back in the days when choirs weren't dropped into the score at the cock of a hat and was much more powerful for it.

Barry's choral writing is brilliant and I regret that he never had more opportunities to employ that gift.

Both amazing scores, Timmer!

The Water Horse - James Newton Howard
Just got it for Christmas. I heard it, downloaded, once before. The best way I can describe it is to call it a Celtic, Howard-ish version of Elfman's Black Beauty. Which is a VERY good thing!

Where did you get THAT from?

Yeap. I know.

that's from where I got it.

Totally agree!

NP: It's a long Road Instrumental from First Blood.

I had the score for years, but it's hard to enjoy for my ears, so I never have heard this final track.

Absolutly amazing! the Rambo theme with guitar and with a short but impressive action motif in the middle!

this is without any doubt in the Goldsmith top 3 main themes.

Well...Only the first one. I have heard Rambo for many years, I used to watch the main credits from the movie just because the music. How you said the second score is so heroic and the action stuff is so terrific that makes your mind blow away!

I love the third one too, but it's more thematic than the second one, but not so intense. And it's doesn't have the national Philarmonic orchestra.

NP:Spiderwick Chronicles (Horner)

Growing on me....But I still think Horner is annoying.

But I ennjoy this score because it's not a thematic one, so it works more like an dark, descriptive and atmospheric, wich at least makes not a sacharine score from Mr.Sugar. and How I said, the nostalgic feeling of the Willow's sound is present (specially in the agressive action writting)

I think it will fit very well with the images, But it's still a proof that Horner has lost his focus, his talent and his sense of scoring.

I've never understood why people envy those on their first listens?

Scores - the truly great ones at the very least - get better with each listen... why would you want to start at the beginning again?



The Hunt For Red October | Basil Poledouris

Just watched the movie, and had to listen to the score. Excellent film, excellent score.