Thor

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Thor last won the day on March 2

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  1. Yes, I saw it over on FSM, K. Great job; I think it's slightly better than the one I uploaded (or the same), but that is no longer available.
  2. Here's an article I wrote on GET CARTER awhile back: http://montages.no/2012/08/get-carter-1971/ I really wish it could be translated easily into English (better than Google Translate, anyway), but oh well....
  3. I haven't heard as much Budd as I want to, but GET CARTER is one of my favourite films. And what a score it is! It's become somewhat of a crossover hit, even. I also like FEAR IS THE KEY and MAMA DRACULA.
  4. For album -- THE MUMMY For score-in-movie -- probably ALIEN The first is simply a rambunctious adventure affair, filled to the brim with awesome ethnic elements, melody and catchy meters and rhythms (slightly more streamlined than he used to be). It's good in the movie too, but it really rocks on album. As far as soundtrack albums go, nothing beats Jerry in the 90s, IMO. The second is a tour-de-force of organic scoring, with elements mirroring and expanding upon all the audiovisual ideas in the film (both narrative and Freudian). I like his original conceptualization, but I think the Scott/Rawlings-edited version is superior in every way.
  5. Yeah, we're all amateur music editors here! I think the music entering at Lucy's "bunny" comment would be appropriate to deflate the situation, i.e. stressing the fact that she has not made some remarkable discovery of what's missing.
  6. No, he did not study at Harvard. As others have said, these 'honorary awards' are just an excuse for professors to get a celeb to their parties. The only 'honorary awards' worth anything for Williams would be UCLA, Julliard and Los Angeles City College. Even then they would be academically meaningless, but at least relevant as an award for a former student.
  7. Cool! Personally, I would have started the music a bit earlier (around the time when she says "the bunny!").
  8. I agree with the comments so far. The interesting thing about Kim is that she actually seems ATTRACTED to the 'scams' at some level, probably unconsciously. Just watch her in the bar scene. At the same time, she has a far more solid moral compass than Jimmy. Which causes these immense conflicts within her. More great framings in this episode. The community service "line-up" in the beginning was awesome. Like THE USUAL SUSPECTS. Also love the "slap-stick" sequence as the film crew tries to hurry into Jimmy's car. And Dave Porter's BB-like music (those percussive bits) as Jimmy quickly tries to change from dirty community worker to film director. Maybe because it's a "transformation" scene that mirrors Walter's transformations?
  9. THAT's what I'm talking about! Excellent work, Mr. Bellamy. Gives a whole other level TWIN PEAKS-ness to the scenes. The time gap between the dialogue in the first scene cries out for some music, especially because it's "quirk". The second scene also works better, even if I wouldn't have used "Audrey's Dance" myself. Applying music in scenes like this is not really about 'conventionalizing' it, but adding necessary energy. While the more suspenseful scenes work with Lynch's own sound design (the dark drones), I also think Badalamenti's darker music could have worked. If I'm not mistaken, they DO use some of it as Hawk searches the woods for the Black Lodge. I also love the song he used as we're introduced to Evil Cooper in the night driving scene (forget who did this); works much like Rammstein in LOST HIGHWAY.
  10. I don't get that at all. The Chromatics stuff, in particular (who are certainly not "teenage trendy"), is spot-on. I also loved Chromatics head shot Johnny Jewel's score for LOST RIVER, which was very much a Lynch-inspired affair. And what about that old 50s song that ended episode 3, I think?
  11. I hope so too. So far, 90% has been Lynch's own 'dark drones'. I'm hoping we'll get to hear more Badalamenti eventually, also newly composed stuff (not sure if there is any new Badalamenti in the 4 episodes at all?). I absolutely LOVE the songs that end the show, though. The bands nail the TP sound perfectly. I feel that large stretches of the episodes lack a bit of 'energy', and a lot of that energy came from Badalamenti's score in the original where the themes intertwined and pulsated both in and out of scenes. But yeah -- I realize this is a very different take on the whole universe.
  12. I haven't read the million replies since the series premiered, but I just caught up on it after having spent some days in Cannes. I really like it, although I do have some qualms. Badalamenti, for example, is sorely missed throughout most of the first 4 episodes
  13. Too many! They're handing them out to everyone over in the US, it seems, even to those who have no previous connection to the university. Interestingly, Williams doesn't have that long education when you put all of his semesters together. It would hardly amount to a Bachelor's Degree today. But at that point, it was more important for budding performers to "train with the best" mentors. And in that regard, he succeeded. But I'm sure he makes up for it with all these Honorary Awards.