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Gnome in Plaid

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About Gnome in Plaid

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  • Birthday May 13

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    St. Louis, MO

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  1. Well put. It really sounds more like an amateur mock-up of The Lion King than something new: "sure, it's good, but it needs more Zebra and amplified solo cello." I'll admit I do like some of the choral revisions in "The Stampede," though. It's also baffling just how badit sounds at points. Something's really off with the tuning in a couple places. It's really a shame; the suite on the "World of Hans Zimmer" album was so well-done and I had hopes the new album would be in that vein.
  2. The Green Mile (T. Newman) - I can't get much into the more whimsical parts of the score, but the more dramatic parts of the score are phenomenal. "Coffey on the Mile" is a truly remarkable piece of music. There's something about the melodic pacing that really throws me off. The phrasing never seems to resolve in the way I expect.
  3. So, I was originally going to come here to ask about some of the underlying "harmonic bed" in "Coffey on the Mile" from The Green Mile, but the album credits seemed to answer my question (bowed travelling guitar, saz, solo violin, some synths, and bowed dulcimer). Those same credits gave me a new question: what the hell is a tonut?
  4. Young's score is remarkable, and Thomas Haden Church was quite good. Other than that, it's really a bad movie.
  5. So, I've been trying to get an answer to this for a while, but haven't had any luck. In a very touching scene the film Fences, a sound (spoiler for the film) I've heard a few times elsewhere, mainly in a jazz context. One example in particular comes to mind: In Kaze's "Triangle" prominently from 6:32-6:42 and 16:33-17:07. Is there a name in trumpet technique for this? Obviously the Fences clip isn't intentional in-character, but there would have had to have been a way to communicate that sound to the trumpet performer, and the Kaze clip is obviously intended. How is this sound produced, and how might I notate it?
  6. What about that ill-fated cat from Christmas Vacation?
  7. I don't think I'm knowledgeable enough to go early than the 70s, but here are my lists: 1970s Alien Apocalypse Now Five Easy Pieces The Godfather The Godfather Part 2 Jaws Patton Star Wars Taxi Driver The Wicker Man 1980s The Blues Brothers Brazil Broadcast News Empire of the Sun The Empire Strikes Back Ferris Bueller's Day Off The Mosquito Coast Raging Bull Raiders of the Lost Ark The Shining 1990s American History X Apollo 13 Cobb The Green Mile Heat Home Alone Pulp Fiction The Big Lebowski The Silence of the Lambs Unforgiven 2000s American Gangster Finding Nemo Frost/Nixon The Fountain The Hours Kingdom of Heaven The Lord of the Rings (considered as one film) Michael Clayton Sahara (added as an 11th- a little guilty pleasure there) Synecdoche, New York The Wrestler 2010s Arrival Birdman First Reformed Lady Bird Lincoln Loving Vincent Manuscripts Don't Burn Prisoners Silence Whiplash
  8. Damn... that's pretty much the perfect way of putting exactly what I wanted to say Thoroughbreds?
  9. Whatever you think of the score itself, the sound is absolutely incredible.
  10. For film, The Silence of the Lambs, easily. It's simply a phenomenal, iconic film. Se7en was also very good, but it was frankly too brutal for my tastes. For score, it's a tougher decision. I actually listen to Silence pretty frequently, and the new complete release is done really well. Clarice's theme is just one of those elemental melodies you can't forget. The one drawback for me is the middle section of the cellar cue. The synths are really out-of-place with the otherwise organic sound of the score. I wonder how Shore would have approached that scene a little later in his career after developing his aleatoric manifesto. Se7en, though, damn... It's Shore at his absolute darkest (well, along with Panic Room). "Wrath" is a nightmare expressed in five minutes. It's musically more interesting than Silence, but I definitely get more out of the earlier score.
  11. I dare you to find a better-sounding recording than Amistad, in any genre.
  12. Check out his incredible score for War of the Vendée. It's quite Williamsesque, but never descends to the level of pastiche. A couple of his tone poems also sound just like they could have been unused music from the prequels.
  13. How much did Conrad Pope contribute to Mortal Engines?
  14. Oh baby. The finale with the contrasting strings and guitar/synth? just fascinates me.
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