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    Oslo, Norway

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  1. Since I have no sense of humour, I choose to take the topic seriously. But the fact is, I couldn't limit it to just one question. I'd have to ask him several about his early days. If I had to ask one, then maybe "could you give me the timeline in your life from 1950 to 1956?
  2. Join the club!
  3. Episode # 45: Michael Kamen In this Norwegian-language episode, I explore some personal favourites in Michael Kamen's marvelous career. PLAYLIST: Robin Hood: Prince of Thieves (1991) — «Overture» Highlander (1986) — «The Quickening» The Three Musketeers (1993) — «D’Artagnan (Galiard & Air)» Brazil (1985) — «Waiting for Daddy/Sam Lowry’s Wetter Dream «The Monoliths Erupt» From the Earth to the Moon (1998) — «Theme» Band of Brothers (2001) — «Theme» The Last Action Hero (1993) — «River Chase» Open Range (2003) — «Open Range» Edge of Darkness (1985) — «Edge of Darkness» Back to Gaya (2004) — «Back to Gaya (Last Cue)»
  4. OK, I gotta modify my first impressions two posts ago (that was only after having heard two tracks). This wasn't as exciting on album as I had expected. It's as if the Bourne sound -- once so influential -- has been eaten up by all its imitators, so what remains is the shell of what it once was. Not that there aren't highlight tracks here, but at this point it seems rather interchangeable with other thriller/action scores these days. I still think the film is one of the best of the year so far, though.
  5. Listening to it now, and LOVING what I'm hearing. My impressions from the film didn't deceive me; this is good stuff for the most part.
  6. Thanks. I've only seen the movie, like, 60 times, so kinda embarassing that I didn't remember. I obviously don't have the expansion, where I believe this cue was included.
  7. Like Seth MacFarlane decapitated Elfman in the FAMILY GUY/STAR WARS episode. I'm a big fan of both Elfman and Junkie XL, so while I can't really partake in the 'laughing-at-them' in either of these cases, it's a slightly amusing way to launch criticism for the critic, I guess.
  8. Yes, I've heard the "Dr. Know" music, of course, and I agree -- that's another example of a Williams piece where synth is more upfront. Good example! Didn't "Mr. DNA" from JURASSIC PARK also this kind of whimsical synth quality, or do memories deceive me (perhaps it was just orchestral)?
  9. As the examples so far show, Williams tends to use synths discretely (I know, I'm Captain Obvious!), which I think is wonderful, and why I will always prefer his approach over someone like Goldsmith's. There are are times where synths are more upfront -- like the techno bit in A.I. (sadly not composed by Williams), "The Conspirators" from JFK or the "Training Montage" from SPACE CAMP (which I soooo hope is by Williams himself, just for the fun of it), but they belong to the exceptions.
  10. This reminds me of when I interviewed Cliff Martinez last year (of whom I'm a big fan), and asked him if ever wanted to; or was capable of doing a John Williams-style score. He said something to the effect of that he probably was (although not on the same level), but that's not what people hire him for.
  11. Scott will still be producer, as far as I know. Villeneuve is IMO one of THE brightest director talents in recent years. ENNEMI is also seriously underrated, but fortunately enjoys a lot of positive buzz in the film critic circles I'm frequenting. I've told myself that I'm going to sit down at some point (soon) and watch all his pre-PRISONERS movies, including the shorts. Heard a lot of good stuff about INCENDIES, for example.
  12. Indeed. Screw stories! Then I can just as well read a book instead. To be fair, though, this new film lets me get closer to Bourne and his issues than I've ever been before, so that's a story-related quality right there.
  13. I already told you -- it's "new" in its retro approach (when every action movie and its grandmother are frenetic & weightless CGI fests). I thank the Powers That Be that this new Bourne film wasn't "re-conceptualized" or otherwise taken in completely new directions that betrayed its very position and approach.
  14. I thought all of those films were absolutely brilliant, but my favourite is probably PRISONERS still.
  15. Ah, I don't follow that thread. But that's good to know.