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Lewya

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Lewya last won the day on May 11 2016

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  1. Lewya

    Favorite Golden Age Composer? (Poll)

    Out of all the composers listed above: Herrmann and North are in a class of their own, no one else comes close. Herrmann was the most original of all Hollywood composers, but North the most progressive. When it comes to most of the other names, it is a fairly even battle, all of them except maybe Young have written some of the best film music of all time (I am not very familiar with Young though so he could have very well have written something impressive, but so far, I find him to perhaps be the kitschiest and least impressive Golden Age composer). My ranking of the 9 Golden Age composers mentioned in the poll, going after whose film music I like the most: 1. Herrmann & North - it depends on the day who I prefer, but on most days, it is probably North. 2. The rest, with Young ranked last. Had Takemitsu and/or Rosenman been included then they would be in the top together/after North and Herrmann, but they are probably more of silver age composers. Herrmann = North = Takemitsu > Rosenman > the 7 other names
  2. Lewya

    Elliot Goldenthal

    I just saw this on Twitter in a post, the contemporary composer John Mackey's (who also studied with John Corigliano) favourite film score is apparently Interview with the Vampire. Goldenthal is the most exciting film composer alive imo.
  3. Lewya

    Open minds

    Agreed, but I am less keen on Greenwood. Goldenthal absolutely yes, he is my first choice in fact for both Dune and Avatar (and for many projects in general). I have a feeling it will be Zimmer for both Dune and Avatar, or at the very least one of them.
  4. I have never seen or heard the Mishima score in its entirety, so I can't comment on it. The Hours I am not a fan of; I pretty much agree with the music critic in NYT on it who wrote that it was mindless and a miscalculation: https://www.nytimes.com/2003/03/02/arts/film-the-great-film-score-catch-it-if-you-can.html. I don't think it is BAD though, just not a very good score. Of the film scores of Glass's film scores I have heard, I regard Koyaanisqatsi as his best film work, but even that I find somewhat overrated. Don't get me wrong, it is admittedly an original score, but I don't find myself returning to it. I kind of like it, but never really listen to it.
  5. 3 stars Glass, 4 stars Williams. Almost none of Glass's film scores has worked for me even if it is still decent music, this while Tibet is among Williams's most underrated scores (if there is a such thing).
  6. Lewya

    Yo-Yo Ma about John Williams

    Ma talks more about Williams (and Morricone) here in this pretty recent interview: He says that Morricone is probably one of the most inspired melodists.
  7. After some serious thinking, I have narrowed it down to these 10 tracks as John Williams's top 10 tracks of all time - in no particular order aside from the top pick from CE3K: 1. Outstretched Hands from Close Encounters of the Third Kind - This is my favourite Williams track of all time - it also seems to be Ryuichi Sakamoto's favourite JW track of all time. Williams wrote in a more modernistic manner and it is the track that flows together the best on the score as a individual track. I have never heard Williams write a finer track, and some of his other stuff, however imaginative it may be, just doesn't merit me singling it out as the best track he has written because he is still re-threading late romanticism and/or just because it doesn't flow together as well as an individual track. I don't really gravitate toward most of his "big" scores too much, but this one is different. His finest score to date together with A.I. Then the 9 other tracks in no particular order for a top 10: Abandoned in the Woods from A.I. Artificial Intelligence Seven Years in Tibet from Seven Years in Tibet The Farewell Scene from Nixon An Architect's Dream from The Towering Inferno Funeral Pyre for a Jedi from Star Wars: Return of the Jedi The People's House from Lincoln Hatching Baby Raptor from Jurassic Park Confluence from Memoirs of a Geisha Love Theme from Jane Eyre Here is what I am not so much into: action music, his big, popular main themes and end title music in general, although they are some exceptions - these things tend to fall short of all time greatness. For me, Williams isn't that good at writing outstanding individual tracks, either Morricone or Newman are the best at that among living film composers and that is probably why I spend less time listening to JW's music these days, I am not really a bigger picture kind of guy, it is all about the best individual tracks most of the time for me.
  8. Lewya

    Michael Giacchino: Unpopular Opinions

    Not really a fan of either, but at least Zimmer has written 2 good scores - Inception and The Thin Red Line. Giacchino has Lost which is my favourite work of his, but I can't say I love that, but it is his best work to date. I consider Zimmer superior - his highs are more frequent and higher than Giacchino's. Giacchino is probably the most overrated film composer working at the moment (Zimmer is also one of the most overrated composers right now, but at least he sometimes, but rarely delivers - the last time he delivered the goods for me was Inception, which at the time was a fresh score - a rare achievement for film scores).
  9. Top 5 film scores of 2018 - these 5 would have been my Oscar nominees: The Sisters Brothers - Alexandre Desplat Out of the Shadows - Christopher Gordon Most Beautiful Island - Jeffery Alan Jones Thoroughbreds - Erik Friedlander You Were Never Really Here - Jonny Greenwood
  10. I am wondering, has J.K. Rowling ever commented on the Harry Potter music and/or on Williams? I don't think I have ever heard her comment on it.
  11. We are limiting ourselves to one track per score. I am curious what you guys would select as his five finest tracks from the 21st century. My top 5 John Williams's film music tracks from the 21st century (so far) are: 1. Abandoned in the Woods from A.I. Artificial Intelligence 2. Confluence from Memoirs of a Geisha 3. The People's House from Lincoln 4. A New Beginning from Minority Report 5. The Abduction from Star Wars: The Force Awakens The three first ones were easy to decide on, the two last ones was much harder and keep changing. What would your top 5 look like?
  12. It is the shortlist, these 15 scores will be narrowed down to 5 nominations.
  13. Mine would be almost the same as yours, but I think Desplat will make the cut. Not sure who I would bump out in favor of Desplat though. I think If Beale Street Could Talk will win the Oscar.
  14. The Academy of Motion Picture Arts and Sciences today announced the shortlists for several categories for the 91st Academy Awards, including Best Original Score and Best Original Song. The nominations will be announced on January 22, 2019 and the awards show will be held on February 24. Fifteen scores will advance in the Original Score category for the 91st Academy Awards. One hundred fifty-six scores were eligible in the category. Members of the Music Branch vote to determine the shortlist and the nominees. The scores listed in alphabetical order by film title are: “Annihilation” – Geoff Barrow & Ben Salisbury “Avengers: Infinity War” – Alan Silvestri “The Ballad of Buster Scruggs” – Carter Burwell “Black Panther” – Ludwig Goransson “BlacKkKlansman” – Terence Blanchard “Crazy Rich Asians” – Brian Tyler “The Death of Stalin” – Christopher Willis “Fantastic Beasts: The Crimes of Grindelwald” – James Newton Howard “First Man” – Justin Hurwitz “If Beale Street Could Talk” – Nicholas Britell “Isle of Dogs” – Alexandre Desplat “Mary Poppins Returns” – Marc Shaiman “A Quiet Place” – Marco Beltrami “Ready Player One” – Alan Silvestri “Vice” – Nicholas Britell Adés didn't make the cut apparently. No Red Sparrow or the other better Desplat score either - are there any other "snubs"? No Greenwood or Yorke either. No Giacchino.
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