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    Oslo, Norway

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  1. The LLL may have better sound (I don't know, I haven't heard it and had in fact forgotten that it existed), but I think the sound even on the original Varese release was fine. I was once sent the Varese 2CD set as a gift, which thankfully included the original soundtrack (all I ever play). For this release, they had also cleaned up the sound, so with that I'm MORE than set. The way I see it, the LLL was a complete waste of money and resources.
  2. I've only heard one cue from SAMURAIS outside the movie itself, and it was a bit too abrasive for me -- not helped by the ancient, crackly sound quality.
  3. Although one can RENT the film on Vimeo, can you buy it anywhere? I'd really like to own it.
  4. Exactly. Well said. I do prefer Bernstein over Hayasaka, though.
  5. I like how you introduced your post by this, as if none of us have heard of this project or discussed it before, LOL! However, thanks for the report! Sounds like a wonderful evening.
  6. Doesn't really work that way for me. If I get a soundtrack to a film I haven't seen, and then see the film later on, it doesn't really have any impact on my listening -- regardless of how well it works in the film or not. I've taught myself to clearly separate between the two. I can enjoy an album AND marvel at how the score works in a film, but one very rarely has anything to do with the other. The first is exclusively part of my music interest, the second exclusively my film interest. I realize this is probably a unique approach in film music circles, but it works very well for me.
  7. Well, exQUEEEEZE me if this was only about congratulating Kraemer. I thought we could also discuss the award/WSA itself. I actually think the WSA had some good nominations this year (unusual for them); in most categories, anyway, and except for some odd choices (like McCreary for 'discovery'). Thankfully no Desplat; it had become somewhat of a parody of him being nominated and winning every year -- regardless of what one thinks of him. Alas, I couldn't come myself this year.
  8. Wrong guy won! Nothing against Kraemer, but I didn't care for his M:I score. The prize should have gone to Margeson instead, for his EDDIE THE EAGLE. But at least Bear McCreary didn't win, which is a comfort -- it would have been bizarre to give a 'discovery' award to what is basically a veteran composer by now.
  9. An unfortunate term, yes, but I believe the objective here is more like 'library music'. I don't think the reality shows in question require the same amount of in-depth, divine inspiration as more full-fledged feature films.
  10. Back in the day, I either listened on my home speakers or on my High End headphones. That changed after I got chronic tinnitus some 6-7 years ago. Now I can very rarely use headphones, and mostly have to use the home speakers/HiFi while simultaneously doing other things, like being online. If my brain focusses exclusively on the music, it also focusses on sound in general and hence the chronic tinnitus noise. As for platform, I play music almost exclusively from my iTunes on my laptop, as I've transferred all my CD's there. I play actual CDs extremely rarely.
  11. Thanks for the source, crumbs!
  12. By the way, and I forgot to ask this earlier -- what's the source for this (that he only wrote the theme)?
  13. What is this question in relation to, if I may ask? It seemed to come out of the blue. But yeah -- sure he's done some good films. THE GRUDGE is probably the one that has the widest, universal acclaim (for me, it's probably the scariest film of all time) -- other good genre films, IMO, are HELLRAISER, THE DARK HALF, SPECIES (soft spot for that), HARD RAIN, THE CORE and SINISTER. Among the more "normal" films, I've always liked Hallström's THE SHIPPING NEWS.
  14. Don Williams? What does John's baby brother's gotta do with it?