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What Is The Last Score You Listened To? (older scores)


Ollie

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You Only Live Twice, Barry

 

love the sound at the start of "Aki, Tiger and Osato", something kind of dangerous and sixties cool. You forget the film it's attached to. Other highlights "Fight at Kobe Docks", "James Bond in Japan" and a few others in between. 

 

 

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One of my Delerue favourites made it to Spotify - no cd is available yet. 'Interlude' is a rather weak romance about a symphony conductor and his doomed attempt at an affair with a fan, and Delerue responds with his achin', expressive best (why are so many of this composer's best works attached to obscure duds?). The main theme is a sultry ballad, trés french in a chanson kind of way - Timi Yuro raspy-voices herself through it - and a wistful minor gallic waltz, arguably the more famous piece (Must it happen Once to Everyone?). The rest is, in true euro style, variations thereof (not counting Dvorak, Beethoven, Rachmaninoff and so on) amounting to 15 minutes of score...but there is a lot of bliss in brevity here.

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It's fine and inoffensive...  but you get a sense Elfman's film work these days is mostly just a "day job". His interests lie elsewhere these days... And judging by the results it's probably best if he focuses his energy and time on writing concert works. In terms of film, I'd like him to do something different... a costume drama would be nice and well suited for his maturing voice.

 

Karol

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46 minutes ago, crocodile said:

It's fine and inoffensive...  but you get a sense Elfman's film work these days is mostly just a "day job". His interests lie elsewhere these days... And judging by the results it's probably best if he focuses his energy and time on writing concert works. In terms of film, I'd like him to do something different... a costume drama would be nice and well suited for his maturing voice.

 

Karol

 

Or a superhero film!

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36 minutes ago, Jurassic Shark said:

 

These days? The last 20 years...

There are plenty of scores he wrote in the 00's that I enjoy very much. Fewer in the past decade.

 

Karol

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Animation and the Holocaust make for an odd couple, but there you go. This film tells the story of the Polish priest Maximillian Kolbe, who was a Catholic priest and helped the Jews. He finally was thrown into Auschwitz and pleaded with his fellow prisoners that, rather than become angry and hateful, they should continue to love those that were hurting them. Mark McKenzie's score is broad and inspirational - very broad and very inspirational so that you never have the vaguest idea of time and place. The hashtag #christianpropaganda applies to this rather well, it's big major leaps recall Horner's and Morricone's music for such occasions (i. e. Glory, Fateless, For Greater Glory) and it's well written if a bit one note. As 2018-entry it can still be counted as one of the brighter star of that year.

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12 minutes ago, publicist said:

 

Animation and the Holocaust make for an odd couple, but there you go. This film tells the story of the Polish priest Maximillian Kolbe, who was a Catholic priest and helped the Jews. He finally was thrown into Auschwitz and pleaded with his fellow prisoners that, rather than become angry and hateful, they should continue to love those that were hurting them. Mark McKenzie's score is broad and inspirational - very broad and very inspirational so that you never have the vaguest idea of time and place. The hashtag #christianpropaganda applies to this rather well, it's big major leaps recall Horner's and Morricone's music for such occasions (i. e. Glory, Fateless, For Greater Glory) and it's well written if a bit one note. As 2018-entry it can still be counted as one of the brighter star of that year.

 

Sounds dreadful!

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Star Wars Episode II:Attack of the Clones by John Williams

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The New World :music:

A very nice Horner score I hadn't heard before.  I really like the end title song.  I have trouble imagining it working with a Malick film though (and apparently so did Malick)

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Horner totally didn't get Malick's vibe - unlike Morricone or Desplat - and rather pushily makes it one of his patented big epics, but it just makes for a better score this way (there is a bootleg with some revisions Horner did and boy, are they rambling and non-descript). 

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I have no idea if Terrence Malick is a horrible filmmaker, but I found Horner rather presumptuous in that interview where he claims he explained to him how to edit the movie. That's not your job!

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To be fair, presumptuous as Horner is, his explanation was that Malick just didn't deliver a final cut so he did his own.

 

PS: Hoosiers is not the last score i listened to, but this is still a nice find

 

 

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Les Misérables by Basil Poledouris

 

Hellboy by Marco Beltrami

 

Brothers Grimm by Dario Marianelli

 

Rosewood by John Williams

 

Amistad by John Williams

 

Lair by John Debney

 

How to Train Your Dragon: The Hidden World by John Powell

 

Damnation Alley by Jerry Goldsmith

 

Powder by Jerry Goldsmith

 

City Hall by Jerry Goldsmith

 

13th Warrior by Jerry Goldsmith

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13 hours ago, Ghostbusters II said:

I have no idea if Terrence Malick is a horrible filmmaker, but I found Horner rather presumptuous in that interview where he claims he explained to him how to edit the movie. That's not your job!

 

Horner was a bit too proactive on the project. I'd have just resigned.

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:music: The Dark Knight. It makes a decent gym music. It is also the best of the three. Fits the Michael Mann vibe of the film very well. Also the best album.

 

Karol

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2 hours ago, crocodile said:

The Dark Knight. It makes a decent gym music

 

Interesting.  We all have different sounds that motivate us I guess.  Oddly enough, for me the absolute best gym music, in terms of soundtracks at least, is Elfman's Pee-wee's Big Adventure.  It's very simple, fun, fast, and engaging.  Often has very regular beats too.  I find that both intense action music and rich romantic music have a dulling effect on my motivation actually, so I turn to 80s comedy scores (the Gremlins soundtracks are favorites as well).  I also exclusively do cardio when I exercise, which might have different motivators than strength training.

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Thirteen Days by Trevor Jones: A very entertaining drama score with a mix of patriotic warm Americana and nail-biting steely suspense writing. Love it.

 

War of the Worlds by John Williams: This has really grown on me over the years and it has some of the most fantastic doom-laden writing and angry violent action material.

 

I Am Legend by James Newton Howard: The religioso main theme and choral work are the most appealing elements of this one. At 40 minutes the album doesn't outstay it's welcome and offers a nice selection of the score without becoming too repetitive.

 

:music:Avatar by James Horner

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Another beguiling Morricone tune for another italian drama, set in Tuscany this time. 'Rustic drama' with lots of italian belcanto is a fitting description, 30 minutes are about the right length (the similar 'Baaria' from recent times was a lot more bloated)

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John Barry's Across the Sea of Time

 

(I went through a Goldsmith mood for Jan-March and now it's JB), this might not be an OST as such but it's wonderful. Flight Over New Year packs a wallop, it's moving, it's stirring and personally, if I ever get to New York, this would be playing in my mind hopefully. Across the Sea of Time (the track) is as good, Coney Island and The Wonder of America.

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4 hours ago, Fabulin said:

Gladiator (2000) - it's a good score, but regretfully not diving as much into the times portrayed as it could. Miklós Rózsa, Bernard Herrmann, Alex North and Jerry Goldsmith expressed the ancient times way better, and in fact I cannot understand why the producers didn't try to hire Goldsmith for this film too in the first place. Overal feeling was always that I am watching a modern movie, and not that I see an ancient story unfold before my eyes. The "epic action" cues are good as standalone music, but remind me of neither Roman cavalry nor chariots. For this lack of immersion Gladiator always seemed very fake to me (Crowe's manner of speaking / accent doesn't convince me that he is a Roman subject either). That being said, many ancient musical accents are used, so at times the score seems to do right and it definitely makes for an overally pleasant experience.

 

I think Ridley Scott's musical tastes have a lot to do with who he chooses as the composer for his films and he has had a long collaboration with Zimmer and Co. Also I am sure the aim was to steer away from the old fashioned scoring of the sword and sandal epics and modernize the whole genre which I guess Ridley tried to do later with Kingdom of Heaven and Robin Hood. Plus this score pretty much started the trend of duduk and Middle Eastern wind instruments and an exotic female vocals featuring in every other film even remotely concerned with the Antiquity or that particular area of the world.

 

Personally my regard for this score has lessened over the years but I can't deny its wide influence.

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3 minutes ago, Incanus said:

Plus this score pretty much started the trend of duduk and Middle Eastern wind instruments and an exotic female vocals featuring in every other film even remotely concerned with the Antiquity or that particular area of the world.

 

And Hulk!

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4 hours ago, Fabulin said:

Gladiator (2000) - Overal feeling was always that I am watching a modern movie, and not that I see an ancient story unfold before my eyes.

 

It's a pop score and that was pretty much what they wanted out of it, musically (fearing it would be enough of a hard sell with ancient times and gladiators).

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