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What Is The Last Score You Listened To?

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COS. For me, it's easily the score with the biggest discrepancy between how much I enjoy it in the film and how much I enjoy it on the album. It makes me even more annoyed with the film, but the OST is pretty well put together.

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The Vampire Lovers - Harry Robinson

Sinuous and slithery. Wonderfully gothic music for Halloween time. I freakin' love Hammer. I had to look everywhere for a copy of this as it is OOP. If anyone else is looking for one at retail, Creepy Classics is the place to go.

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Titus by Elliot Goldenthal

Listening to this made me realize that we need Elliot Goldenthal to come back to film scoring.

Really? I certainly think Goldenthal is amazing and needs to be more prolific, but I wouldn't choose this as an example of why. It's so choppy. It goes from epic to sad to just unsettlingly strange in such a short time. Probably my least favorite Goldenthal work. Parts of it are still wonderful, however.

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I don't think he does that very often. Alien 3 generally keeps to strange while Interview with the Vampire is a wonderful mixture of sadness and fear. However, Titus's shift of tones feels uncharacteristic for even Goldenthal.

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Listening to CutThroat Island. I'm enjoying it more than I often have in the past...although I've always appreciated the score's pure orchestral sensibilities, it always tended to overwhelm me with its unrelenting enthusiasm. For whatever reason, I'm having an easier time handling the overdose of boisterous swashbuckling rhythms. It helps that I took the complete soundtrack and whittled it into a playlist that mimics the OST...this is one case in which I'd usually rather listen to an abridged "listening experience." (But I don't regret buying the complete soundtrack...it's much easier to make it shorter than longer. That's what she said.)

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while Interview with the Vampire is a wonderful mixture of sadness and fear.

Good. You put wonderful in the same sentence as that score. Having never seen the flick, I wasn't sure if the score was worth the $2 I paid for it used the other day.

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Listening to CutThroat Island. I'm enjoying it more than I often have in the past...although I've always appreciated the score's pure orchestral sensibilities, it always tended to overwhelm me with its unrelenting enthusiasm. For whatever reason, I'm having an easier time handling the overdose of boisterous swashbuckling rhythms. It helps that I took the complete soundtrack and whittled it into a playlist that mimics the OST...this is one case in which I'd usually rather listen to an abridged "listening experience."

Yea, for me I also generally prefer the OST over the Complete for this one score.... the Complete just seems to be a little too long to take in. At least for now. Maybe if I ever see the movie again I'd change my mind.

(But I don't regret buying the complete soundtrack...it's much easier to make it shorter than longer. That's what she said.)

ROTFLMAO

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Titus by Elliot Goldenthal

Listening to this made me realize that we need Elliot Goldenthal to come back to film scoring.

Really? I certainly think Goldenthal is amazing and needs to be more prolific, but I wouldn't choose this as an example of why. It's so choppy. It goes from epic to sad to just unsettlingly strange in such a short time. Probably my least favorite Goldenthal work. Parts of it are still wonderful, however.

Well, the film is quite extreme. But there is some logic behind all this. Basically, Goldenthal did the similar thing to what he's done previously with Interview with a Vampire. He a associated particular genres of music with generations of characters (in Interview it illustrates the passage of time). In the film it makes perfect sense.

Karol

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Well, the film is quite extreme. But there is some logic behind all this. Basically, Goldenthal did the similar thing to what he's done previously with Interview with a Vampire. He a associated particular genres of music with generations of characters (in Interview it illustrates the passage of time). In the film it makes perfect sense.

I suppose that's true, but the same could be said about Brokeback Mountain, and I hate Brokeback Mountain... I find myself more concerned with how much I like music rather than how well it fits the subject matter which is still important.

Good. You put wonderful in the same sentence as that score. Having never seen the flick, I wasn't sure if the score was worth the $2 I paid for it used the other day.

Definitely! "Louis' Revenge" is amazing. The album is a bit repetitive, but if you ignore that, it's very enjoyable.

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I don't think he does that very often. Alien 3 generally keeps to strange while Interview with the Vampire is a wonderful mixture of sadness and fear. However, Titus's shift of tones feels uncharacteristic for even Goldenthal.

It's not as wild in its contrasts as Batman Forever - and I consider that one of his best scores, in a totally insane way. I like Titus a lot, though not quite as much as many others - for a long time at least, it seemed to be the most popular of all Goldenthal scores. My personal favourite remains Sphere.

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I don't think he does that very often. Alien 3 generally keeps to strange while Interview with the Vampire is a wonderful mixture of sadness and fear. However, Titus's shift of tones feels uncharacteristic for even Goldenthal.

It's not as wild in its contrasts as Batman Forever - and I consider that one of his best scores, in a totally insane way. I like Titus a lot, though not quite as much as many others - for a long time at least, it seemed to be the most popular of all Goldenthal scores. My personal favourite remains Sphere.

My vote goes to In Dreams!

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When I first saw Interview with the Vampire years ago on VHS, I was a big Batman fan. The music reminded me of the first two Batmans. Then he ended up doing the next couple movies. I liked his scores.

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I don't think he does that very often. Alien 3 generally keeps to strange while Interview with the Vampire is a wonderful mixture of sadness and fear. However, Titus's shift of tones feels uncharacteristic for even Goldenthal.

It's not as wild in its contrasts as Batman Forever - and I consider that one of his best scores, in a totally insane way. I like Titus a lot, though not quite as much as many others - for a long time at least, it seemed to be the most popular of all Goldenthal scores. My personal favourite remains Sphere.

I should check out his Batman scores. I'm not familiar with either, but it seemed like an opportunity for him to stretch his weirdness.

Sphere is really awesome. I haven't watched the film to compare the album and film. Does it cover most of the score?

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I don't think he does that very often. Alien 3 generally keeps to strange while Interview with the Vampire is a wonderful mixture of sadness and fear. However, Titus's shift of tones feels uncharacteristic for even Goldenthal.

It's not as wild in its contrasts as Batman Forever - and I consider that one of his best scores, in a totally insane way. I like Titus a lot, though not quite as much as many others - for a long time at least, it seemed to be the most popular of all Goldenthal scores. My personal favourite remains Sphere.

My vote goes to In Dreams!

Mine would be Michael Collins, trully one of the great scores of the 90's.

I also love Sphere, but I'm very curious about all the missing music. I don't remember much from the movie, but is the quality consistent with what we have on cd?

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I don't think he does that very often. Alien 3 generally keeps to strange while Interview with the Vampire is a wonderful mixture of sadness and fear. However, Titus's shift of tones feels uncharacteristic for even Goldenthal.

It's not as wild in its contrasts as Batman Forever - and I consider that one of his best scores, in a totally insane way. I like Titus a lot, though not quite as much as many others - for a long time at least, it seemed to be the most popular of all Goldenthal scores. My personal favourite remains Sphere.

My vote goes to In Dreams!

Mine would be Michael Collins, trully one of the great scores of the 90's.

I also love Sphere, but I'm very curious about all the missing music. I don't remember much from the movie, but is the quality consistent with what we have on cd?

I actually personally know one of the horn players that has performed in several Goldenthal recordings (his son is in the marching band that I'm assistant director for), including Sphere, Interview, Across the Universe, and Michael Collins, amongst quite a few other film scores and Broadway cast recordings. He had great things to say about Michael Collins in particular. I agree, it really is a great score!

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My vote goes to In Dreams!

Good one!

Sphere is really awesome. I haven't watched the film to compare the album and film. Does it cover most of the score?

I've seen the film several times and never really noticed much music missing. But I've read several times that about half the score (!?) is missing on the album, and apparently that's supposed to include great material. I think there were some strange circumstances about the scoring sessions which lead to two separate sets of tracks for which re-use fees would have to be paid separately, so they could only afford to pick one set?

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Alien Resurrection

LLL's presentation drags a bit in a few of the longer tracks, but apart from that, a really nice 90 mins of listening.

Lost: The Final Season

Superb, and I haven't even got to the Ab Aeterno material yet, which is my favourite of the whole show. The Last Episodes disc (on its way) should be good.

Legend of the Guardians

An amazing score by Hirschfelder. I love the theme, and the battle cue in particular is my favourite piece of film music right now.

I've seen the film several times and never really noticed much music missing. But I've read several times that about half the score (!?) is missing on the album, and apparently that's supposed to include great material. I think there were some strange circumstances about the scoring sessions which lead to two separate sets of tracks for which re-use fees would have to be paid separately, so they could only afford to pick one set?

I think Filmtracks mentions that some was recorded in NYC and some in L.A., so they didn't release/pay fees for anything recorded in L.A.

Same reason, I believe, why none of the final battle music from The Mummy Returns is on album. That section was recorded in L.A., rather then London and they didn't want to pay the fees.

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For the Mummy Returns, they had a deadline to meet as far as preparing the music for a soundtrack release. So Silvestri and co had to deliver what they had recorded. I believe the final part of the film wouldn't be ready under the allotted time they had to record in England, so they finished in L.A.

A similar thing happened with the original Tomorrow Never Dies album. They needed to get the album out on a certain date so Arnold provided them with what they had recorded.

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Finally got around to listening to my copy of LLL's Alien Resurrection. Much thanks to those who recommended it! I actually love it. Has a lot of great melody, and fun action music. Too bad the movie is such a shit-fest.

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Now listening to Bicentennial Man. I really like this score. I know of numerous passages that Horner either stole from earlier works or later stole in subsequent works, but since this was one of the first Horner scores I got into, I can still really enjoy it for what it is. Very moving, very lush, very appropriate to the film. Incidentally, of all the film scores I play on piano when I visit home, this is the one my mother likes the best.

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For the Mummy Returns, they had a deadline to meet as far as preparing the music for a soundtrack release. So Silvestri and co had to deliver what they had recorded. I believe the final part of the film wouldn't be ready under the allotted time they had to record in England, so they finished in L.A.

Also if you'll notice for the complete score for The Mummy Returns the pieces that were recorded in L.A. you can definitely hear it was recorded in a different studio.

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For the Mummy Returns, they had a deadline to meet as far as preparing the music for a soundtrack release. So Silvestri and co had to deliver what they had recorded. I believe the final part of the film wouldn't be ready under the allotted time they had to record in England, so they finished in L.A.

Also if you'll notice for the complete score for The Mummy Returns the pieces that were recorded in L.A. you can definitely hear it was recorded in a different studio.

...and probably with a different orchestra. ;)

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Yeah, it's pretty much the final battle once they get in the temple. The orchestra sound is much smaller. I don't know if it's due to the size or the way the score was recorded.

It could have something to do with the size of the studio.

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I listened to AOTC today and thought of SOTE. The reason was because AOTC the movie sort of took us to environments that were featured in SOTE and Joel McNeely previously composed music for. The kind of seedy underworld and back alleys of Coruscant (or Imperial Center). Do you think McNeely nailed it better musically than Williams?

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Do you think McNeely nailed it better musically than Williams?

Not even in my most twisted dreams.

I personally don't find the musical language in SOTE to have the character of the SW universe but it's something I find in the prequels very much so.

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I listened to AOTC today and thought of SOTE. The reason was because AOTC the movie sort of took us to environments that were featured in SOTE and Joel McNeely previously composed music for. The kind of seedy underworld and back alleys of Coruscant (or Imperial Center). Do you think McNeely nailed it better musically than Williams?

I think so. Like the film scenes, Williams' sounds pretty glossy. I always liked the bit at the end when Fett kills Zam though. I wish JW had maybe gone for more of a detective vibe with Obi-Wan's investigation. And no Dex's Diner.

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I thought Williams wasn't responsible for Dex's Diner?

He wasn't, his son did the Dex's Diner source just like the Mos Espa source.

AotC is a very underappreciated score. I think a proper complete release will turn a lot of heads.

I agree with this as well. Grant it is the weakest of the six scores but it's not as bad as everyone makes it out to be.

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AotC is a very underappreciated score. I think a proper complete release will turn a lot of heads.

I'm not sure. I like the action tracks on the album a lot, but most others seem to hate them. A complete release is unlikely to change that.

Let the Williams well run dry for a few more years and everything except Joey starts agreeing with you. When i recently got THE EDGE by Goldsmith, i listened to it again since a long time and was shocked of how great, even sublime a lot of it seemed. When the score came out, i liked the theme and found the interior music serviceable but not much more. With filmmusic today what it is, even a workmanlike Goldsmith adventure score seems like a thundering musical achievement.

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There's no doubting the technical quality of AOTC, minus that damned guitar. That being said, unless there are some major surprises that weren't reported, I doubt there's much music we haven't heard yet.

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No it wasn't that. I think someone actually saw the original sketches and confirmed there wasn't that much missing music. The tracked music really didn't replace anything Williams had originally composed.

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Obviously Williams never scored the big battle. But the unused original finale cue would be great to hear, and judging by the last 2 seconds its a very nice piece

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