Thor

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About Thor

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  • Website URL http://www.celluloidtunes.no
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  • Gender Male
  • Location Oslo, Norway

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  1. He's gotten so skinny (I particularly noticed this when I saw him live for the Burton concert premiere in London a couple of years ago). Must be Bridget who has put him on a diet. Not that long ago, he looked like this:
  2. He was hit and miss before that too. Most composers are throughout their careers. I've really enjoyed the sound he's discovered after the "Serenada Schiozphrana" in 2005 -- especially in the more indie-oriented films that require softer, minimalist textures. Not that fond of his big blockbuster scores. But of course, as a completist I have to get it all. Even grating noise affairs like GOOSEBUMPS and AVENGERS: AGE OF ULTRON.
  3. Same here -- for both points. Wish I could read them, though. Would have been fun to get the score sheets for, say, his unreleased stuff (symphony, STORIA DI UNA DONNA) and transcribe them.
  4. I think the exact opposite. Re-arranging is giving the music its due in a completely different medium, much like you need to make some changes when you're adapting a book to film. NOT adapting is missing one crucial step. For me, a C&C release is basically like you'd adapt a book to film by having a single-shot camera on a man who reads a book cover to cover. Could be an intriguing art installation, perhaps, but hardly a film.
  5. Your favorite John Williams pictures

    Great find! A small glimpse into a particular time and space. One can only wonder what would have come out of more collaborations between Williams and Hitchcock if the director had made more movies.
  6. I'm envious that you can get that out of a C&C presentation, Townerfan. I don't. With a handful of exceptions, it's mostly a gruelling experience. But it goes to show how different our brains work; how we like the things we do and other things not so much.
  7. He, he...OK, let's say the "last few" is made up of dozens upon dozens of titles.
  8. That was a long sentence, but I think I know what you mean, and I agree. For me, listening to a C&C release (and believe me, I've tried many times) is basically like "listening to the film" without the sound effects and dialogue. And if that's what I want, I'd rather watch the film with the images, sound and dialogue to hear it in its proper context. The film doesn't really exist for me when I listen to soundtrack albums. The music may have been written for a film at some point, but with some artistic tinkering; some selection and sequencing from the composer (preferably), it plays out more like a concept album in the style of prog rock, classical music or instrumental electronic music -- which was my pathway into soundtracks in the first place. To bring this back on-topic (sort of), it will be interesting to see what path Williams follows in his last few soundtrack albums -- if they'll be more or less chronological in the style of TFA and WAR HORSE, or if it will be more on a case-by-case basis.
  9. ALICE IN WONDERLAND was one of the best Elfman scores in the last 10 years. So yeah -- very curious to see how he's going to develop the material.
  10. Official Danny Elfman Thread

    Been looking forward to this for several years now. There's still a bunch of unreleased non-film/TV work by Elfman, but this fills an important hole.
  11. I'm curious to know why you think it's hypocritical. I never said you had to tolerate/like the way a soundtrack is presented (whether C&C or arranged for listening), but one should always tolerate another's differing preference, and that such a different preference exists. Just as you have to tolerate someone liking a particular type of food that you hate. This seems to be difficult for you, however.
  12. So who is displaying the 'tolerance' here? I -- who accept and tolerate those who prefer C&C, even if I hate that particular approach myself -- or you, who resort to personal insults because I don't share your philosophy? This is exactly what I'm talking about. Thank you for proving my point.