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Lewya

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Everything posted by Lewya

  1. Top 3 best Williams scores since 2000: Memoirs of a Geisha A.I. Artificial Intelligence Star Wars: Revenge of the Sith The seven others aren't really close, should I really mention them? Harry Potter and the Prisoner of Azkaban Harry Potter and the Sorcerer's Stone Star Wars: Attack of the Clones Minority Report Star Wars: The Force Awakens Catch Me If You Can The Adventures of Tintin I am not that fond of Williams post 2005. 2005 was the last year he did something that impressed me.
  2. It is true. Tron: Legacy was 7 years ago, not really recent - I couldn't remember it and it includes some orchestral backing too. I was talking fully electronic scores, or unconventional orchestral scores, not just an electronic element. Recently meaning from the last 3 to 5 years.
  3. Agreed, it is predictable at this point. I can't remember the last time he or any other film music critic gave a none tradtional score or electronic score a high rating.
  4. Maps to the Stars - Howard Shore I think this is Shore's finest score since The Lord of the Rings. Cosmopolis - Howard Shore & Metric His second best score since The Lord of the Rings. I like the Hobbit scores, especially some highlight cues here and there, but I think they are too tedious as a whole.
  5. Pretty good call on Edelman, but I would still file him under, "I like the occasional surprise cue here and there, but no score in its entirety really" category, he has some good cues to his name. Graeme Revell is another composer I largely don't care for, but he has done some good work to be honest. I like some of Out of Time, Dead Calm, The Crow etc. The song in Strange Days is one of the best things Revell has done. All taken together, I do like Revell more than most of the composers I have mentioned - he has done more good work than most even if he might be a more miss than hit composer for me as a whole. Jeff Rona would probably be filed under "I like the occasional surprise cue here and there, but no score in its entirety really" category as well, but truth to be told, I haven't heard enough of his work. I remember liking some of Generation Iron.
  6. Dislike is a strong word, but here are 20 composers I largely don't care for aside from the exceptions which I have singled out: Klaus Badelt: I like some of The Promise and Rescue Dawn, but that's about it. Steve Jablonsky: I like parts of the first Transformers and Steamboy was kind of OK. Tyler Bates: I can't think of anything I have liked. Michael Giacchino: I kind of like some of Lost, parts of the Medal of Honor scores, some of The Incredibles and the occasional surprise cue here and there. Ramin Djawadi: I like the occasional surprise cue here and there, but no score in its entirety really David Arnold: I like some of Independence Day and the occasional surprise cue here and there. Junkie XL: I like some of Mad Max: Fury Road and the occasional surprise cue here and there. Rupert Gregson-Williams: I can't think of anything I have enjoyed really, but he has his moments I guess. John Debney: I like parts of Cutthroad Island and Lair and the occasional surprise cue here and there. Trevor Rabin: I like the occasional surprise cue here and there, but no score in its entirety really. Marc Streitenfeld: I like the occasional surprise cue here and there, but no score in its entirety really. Joseph Bishara: I can't think of anything I have liked. Christophe Beck: I can't think of anything I have liked. Brian Tyler: I can't think of anything I have really liked, but the occasional surprise cue here and there can be pretty nice I guess. David Wingo: I can't think of anything I have liked, it is just kind of there, it doesn't do anything for me. Harry Gregson-Williams - I like the occasional surprise cue here and there, but no score in its entirety really. Steven Price - I like the occasional surprise cue here and there, but no score in its entirety really. Bear McCreary - I like the occasional surprise cue here and there, but no score in its entirety really. John Murphy - I like the occasional surprise cue here and there, but no score in its entirety really. Henry Jackman - I like the occasional surprise cue here and there, but no score in its entirety really.
  7. Not a big fan at all. The third movement of the piano suite Conversations may be my pick if I am forced to grab something. After a massive gap, then The Five Sacred Trees, Heartwood and the Violin concerto probably.
  8. Arrival - Jóhann Jóhannsson One of Jóhannsson's best film scores. Inception - Hans Zimmer A top 10, if not top 5 of all time Zimmer. Great. American Beauty - Thomas Newman A top 5 Newman. Gorgeous.
  9. Two more ballots, still no ballot from the music branch: Best Original Score I eliminated Three Billboards, then the Jedi movie [Star Wars: The Last Jedi] and Dunkirk, which I thought were just kind of loud. The Shape of Water's score was good, but I just thought that the music in Phantom Thread — even though I didn’t like the movie that much — was incredible. When I got the disc, I listened to it again, and I thought he [Jonny Greenwood] really captured that whole era in his music. https://www.hollywoodreporter.com/lists/brutally-honest-oscar-ballot-get-filmmakers-played-race-card-just-sick-meryl-streep-1090440/item/best-original-score-2018-brutally-honest-oscar-ballot-2-1090487 Score “The Shape of Water.” We’re never going to allow something that isn’t well-made to sneak into whatever the trend is that year. The movie does fit into the trend and the politics. It’s well-made and original and inspiring. It breaks some new ground. http://www.indiewire.com/2018/02/anonymous-oscar-ballot-producer-oscar-voters-1201933136/
  10. Another ballot, negative comment on The Last Jedi "same old shit, nothing new there": Best Original Score Knock The Last Jedi off the list — same old shit, nothing new there. Then Dunkirk — the score and the drone of the airplane seemed interchangeable to me, just relentless. Carter Burwell is great, but I wasn’t in love with Three Billboards. Phantom Thread was great and probably the score I’d most want to listen to apart from a movie. But The Shape of Water’s score was a seamless part of it and helped me to feel transported into its world. My Vote: The Shape of Water https://www.hollywoodreporter.com/lists/brutally-honest-oscar-ballot-call-me-by-your-name-is-wrong-post-got-spielberg-ized-1088406/item/honest-oscars-ballot-best-original-score-1089169
  11. Another ballot: Best Original Score: Dunkirk “For the music, I voted for the person who did Dunkirk (Hans Zimmer). I thought that was a fabulous score.” https://www.thestar.com/entertainment/movies/analysis/2018/02/23/anonymous-canadian-oscar-voter-no-2-meryl-streep-i-dont-think-so.html
  12. Four more ballots are in: Best Score “Dunkirk”: Hans Zimmer. It’s all one cue! And “Phantom Thread” had a great score. http://www.indiewire.com/2018/02/anonymous-oscar-ballot-executive-blade-runner-2049-three-billboards-1201930691/ Best Original Score Jonny Greenwood wrote an amazing score [for “Phantom Thread”]. http://www.indiewire.com/2018/02/anonymous-oscar-ballot-publicist-phantom-thread-darkest-hour-1201928160/ Best Original Score “Dunkirk” deserves to win. It’s such a sustained piece of anxiety and Zimmer successfully masks the cold formalism of Nolan’s diktat. “Shape of Water” could well win, which would be a matter of despair for me. It’s just such a by-the-numbers score. Such a well-trodden path. The lushness of the “Phantom Thread” score was a beautiful departure from the more abstract contemporary work we expect from Greenwood. I also loved Daniel Hart’s music for “A Ghost Story,” it stayed in my mind a long time and I wish it was in the mix despite the film not being perhaps as captivating as its score. http://www.indiewire.com/2018/02/anonymous-oscar-ballot-editor-get-out-the-shape-of-water-1201929363/ Another one: Best Original Score: Phantom Thread “I actually broke ranks with The Shape of Water and I went with Phantom Thread. I liked the music a lot.” https://www.thestar.com/entertainment/movies/2018/02/22/anonymous-canadian-oscar-voter-tells-all-three-billboards-is-overrated-nearly-fell-asleep-during-phantom-thread.html Note: None of the five voters so far have been from the music branch.
  13. http://www.indiewire.com/2018/02/anonymous-oscar-ballot-voter-best-picture-three-billboards-lady-bird-1201927235/ Best Original Score The only thing I really liked about “Phantom Thread.” It really reflected the era. Although I thought the score for “Three Billboards” was very good; it felt as though it accented the film in all the right ways. “Get Out” had a terrific score. Very important in a horror film. Post more ballots if you find them, apparently there will be more coming.
  14. Some truly sad and shocking news. He was one of the most talented composers of the "next generation" of composers.
  15. Nah, it is properly rated as the weakest Harry Potter score written by Williams. No on all 4 questions.
  16. As Alex Ross wrote, we are lucky that Hornerisms are not triumphant force in film scoring. Of course that is "cheating", anybody can just use a motif all the time, that doesn't count imo as having a "sound". And that danger motif is not even Horner's original construction, it originally comes from a symphony if I remember correctly. The Horner danger motif is an example of a BAD sound a film composer can have that's just laziness. I would count Horner's tendency to do much with little as a thing he did though. Three names in film scoring to consider as having a personal sound/style: Thomas Newman and his style, I am not an expert on him and have to read more on the subject to be honest, but that kind of blues-influenced quirky Americana. Hans Zimmer and his maximal minimalism, all of the ostinati and power anthems. Joe Hisaishi and his piano material, melodies and minimalism (sometimes combined with electronic music).
  17. Noah Baumbach said that he loved the E.T. score by Williams when he was a kid and that he would cry if that came on now: "When I was a kid, I loved the E.T. score by John Williams. If that score came on right now I would cry. It’s so emotional." http://www.vulture.com/2015/03/noah-baumbach-music-while-we-were-young.html James Cameron said that he placed James Horner in the top 3 - with John Williams and Hans Zimmer.
  18. Oh, and another one I almost forgot: The Star Trek director Nicholas Meyer commented that The Post maybe would have been better with less music in it on his Facebook: Someone wrote this: There is always one moment in nearly every Spielberg movie when I feel I am being manipulated. I think it comes from a sense of wanting to make sure the audience is getting the emotional point without realizing they already have. The John Williams music swells, nearly obscuring the dialogue, while every cinematic effect is used to ram the point home, in a kind of emotional arm-twisting. That's what bothered me about the made-up scene at the end of THE POST. It felt heavy-handed and unnecessary. Kay Graham's growth and courage had been amply demonstrated and didn't need to be underlined. To this comment Nicholas Meyer wrote: "I think some of that is a fair critique. Having said that, I loved the film anyway. Would it have been better with less music? Maybe..."
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