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BloodBoal

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None of those, no. But East of Eden, Rebel Without A Cause, Sybil, Fantastic Voyage, his two Planet of the Apes scores, Barry Lyndon, Cross Creek, Robocop 2 (his personal low point), and of course Lord of the Rings. Don't get me wrong; I never said Rosenman was a bad composer. He created a number of fine works, some of which I've always been fond of. But I stand by the statement that got you so ruffled up to start with: it all sounds very much alike. His orchestration and instrumentation choices were extremely distinctive, and never really evolved. East of Eden, one of his first scores, has the same acoustic patina as Star Trek IV some thirty years later.

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They're alright. I enjoy STID more than ST 11

Likewise.

Why? Why are the Giacchino scores so panned? I thought they were admirable enough efforts.

Some of it, especially STID but still...to me they're just not as memorable as the first 10.
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  • 1 month later...

I'd have to agree that VI is a pretty decent score and that IV does sound way too...happy/comical/cartoony for Star Trek. The reboot scores I don't care too much for mainly because I hear music that conveys emotion rather than music that IS the emotion.

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I hear music that conveys emotion rather than music that IS the emotion.

This reads like the kind of BS that I post! Great stuff!

ROTFLMAO

I was curious about that statement, though. Not to be blunt, but . . . what the hell does it mean? How do you tell the difference between a "conveyor" and an . . . um . . . "iser?"

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Why? Why are the Giacchino scores so panned? I thought they were admirable enough efforts.

because they are mediocre. A talent that we're told is so great in MG has had two chances to make a home run and instead doesn't even get to first base. His best music is his rehash of AC's theme.

His London piece is quite good better than most of his original stuff but I really expected another WOK or SFS or FC

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I don't understand how, of all the material Giacchino composed for the two new films, the one moment that gets frequently mentioned, and in this case deemed an actual standout by Joey, is that boring old London Calling chord thingy.

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I myself never liked that cue or theme...

However, the way in which John Harrison's theme overwhelms (and, ultimately, hijacks) this tune in London Falling is really cool. Love how this emotional becomes more and more mechanical and cold.

My favourite cue in the score, actually.

Karol

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I don't understand how, of all the material Giacchino composed for the two new films, the one moment that gets frequently mentioned, and in this case deemed an actual standout by Joey, is that boring old London Calling chord thingy.

JFC You guys have no taste. I understand the Zimmer lover but I thought KK had a bit of taste than gray. But overall Michael Gachino, no need for the silent letters to be used, is just not very good.

Star trek 11 and 12 are the 11th and 12th best scores of the film franchise in some order.

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Am I the only one who likes Giacchino's Star Trek?

no. Jason Gray KK Uni and others
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JFC You guys have no taste. I understand the Zimmer lover but I thought KK had a bit of taste than gray.

Am I the only one who likes Giacchino's Star Trek?

no. Jason Gray KK Uni and others

You got THAT from this?

Yeah, strange. That's arguably the most dull piece he's written for the franchise.

I've never really been a fan of Giacchino's ST scores, aside from a few cues here and there. You just pointed out London Calling as being good, which I found to be one of the most boring things he's written.

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You certainly like it far more than I but I find the cues you like to be boring.

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It's a bizarrely generic piece. That's garnered a lot of bizarre attention. A friend of mine actually commented on it in the theater during the credits. He said it seems more "emotionally relevant" than, say, what Williams writes.

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Indeed. I remember when the clip of it in concert was released, some fans here were crying "Hallelujah!" and how "brilliant" it was. Thought I was the only one who was hearing how bland it sounded.

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