I kind of wish he will go with someone else. Scott himself said Goldsmith's score is his personal favourite (which, of course, is ironic). I'd like him to be more adventurous (read: old fashioned).
Karol
So Ridley Scott is directing an Alien prequel... (The official Prometheus Thread)
Started by crocodile, Jul 31 2009 07:24 AM
1929 replies to this topic
#321
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Posted 09 April 2011 - 10:39 PM
From a storytelling point of view, from a directing point of view, there is one thing I associate with what he does, which is calm. There is such an inherent calm and inherent trust of the one powerful image, that he makes me embarrassed with my own work, in terms of how many different shots, how many different sound effects, how many different things we’ll throw at an audience to make an impression. But with Kubrick, there is such a great trust of the one correct image to calmly explain something to audience. There can be some slowness to the editing. There’s nothing frenetic about it. It’s very simple. There’s a trust in simple storytelling and simple image making that actually takes massive confidence to try and emulate.
- Christopher Nolan
#322
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Posted 09 April 2011 - 10:48 PM
The scores for Scott's films never sounded modern to my ears, except for something like A Good Year and Body Of Lies, which warranted that type of sound.
In 50 years Herrmann will be forgotten.
#323
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Posted 09 April 2011 - 11:47 PM
Goldenthal! Please, Ridley!
#324
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Posted 10 April 2011 - 06:41 AM
Goldenthal?! Hmm, listen to how subtle and subdued the score of Alien sounds compared to Alien3, Drax. It's an almost silent score and you are pleading for Elliot 'overbearing' Goldenthal? Are you feeling okay?
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Pictures, visual images, are far better to achieve that end than any words, particularly now, when the world has lost all mystery and magic and speech has become mere chatter, empty of meaning - Andrei Tarkovsky
#325
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Posted 10 April 2011 - 08:40 AM
He's capable of a subtle, yet cerebral atmosphere. I wouldn't want it to be exactly like Alien or Alien³, but I'd like to hear his creepy signatures, minus the latter score's tragic melodrama. Even Goldsmith blared out the scares and adrenaline when he wanted.
#326
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Posted 10 April 2011 - 10:22 AM
If not Goldenthal, then perhaps Don Davis.
Even then, they could always venture into the world of contemporary concert world. Wolfgang Rihm, Unsuk Chin and Martin Matalon to name but two, could provide a very compelling, startling score.
Even then, they could always venture into the world of contemporary concert world. Wolfgang Rihm, Unsuk Chin and Martin Matalon to name but two, could provide a very compelling, startling score.
#327
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Posted 10 April 2011 - 10:39 AM
Don Davis would be fantastic!
Karol
Karol
From a storytelling point of view, from a directing point of view, there is one thing I associate with what he does, which is calm. There is such an inherent calm and inherent trust of the one powerful image, that he makes me embarrassed with my own work, in terms of how many different shots, how many different sound effects, how many different things we’ll throw at an audience to make an impression. But with Kubrick, there is such a great trust of the one correct image to calmly explain something to audience. There can be some slowness to the editing. There’s nothing frenetic about it. It’s very simple. There’s a trust in simple storytelling and simple image making that actually takes massive confidence to try and emulate.
- Christopher Nolan
#328
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Posted 10 April 2011 - 02:51 PM
Nah, he'd just use Horner's metal clanks from Aliens again 
In 50 years Herrmann will be forgotten.
#329
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Posted 10 April 2011 - 03:47 PM
John Williams! After all, he was going to score the original Alien...
But some more realistic choices:
- Don Davis
- James Horner
- John Powell
- Michael Giacchino
- Bruce Broughton
But some more realistic choices:
- Don Davis
- James Horner
- John Powell
- Michael Giacchino
- Bruce Broughton
If you start taking yourself seriously, then you’re in deep trouble! - Jerry Goldsmith
#330
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Posted 10 April 2011 - 04:45 PM
I would not call any of those realistic. Now long has it been that Scott has used a none MV/RCP composer? G.I. Jane?
#331
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Posted 10 April 2011 - 05:06 PM
What's all this talk about who the composer is going to be? Isn't film music dead?
BTW, choose Jonny Greenwood, Ridley.
Pretty please?
BTW, choose Jonny Greenwood, Ridley.
Pretty please?
Pictures, visual images, are far better to achieve that end than any words, particularly now, when the world has lost all mystery and magic and speech has become mere chatter, empty of meaning - Andrei Tarkovsky
#332
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Posted 10 April 2011 - 11:12 PM
I would not call any of those realistic. Now long has it been that Scott has used a none MV/RCP composer? G.I. Jane?
Yes, the only realistic option is Marc Streitenfeld. Giacchino and Broughton?
In 50 years Herrmann will be forgotten.
#333
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Posted 11 April 2011 - 12:20 AM
What about a John Frizzell score.
#334
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Posted 11 April 2011 - 11:56 AM
Nah, he'd just use Horner's metal clanks from Aliens again
No one's got a copyright on the anvil... yet.
What about a John Frizzell score.
Boring. Too much filler.
#335
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Posted 11 April 2011 - 12:57 PM
Long as its not media ventures lot.
#336
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Posted 11 April 2011 - 01:24 PM
BTW, choose Jonny Greenwood, Ridley.
Yes, yes, and yes.
Long as its not media ventures lot.
Streitenfeld is pretty damn close.
#337
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Posted 12 April 2011 - 12:54 PM
Not close, he is. Worked as Zimmer's personal assistant for years until he got his first gig on A Good Year.
Long as its not media ventures lot.
Streitenfeld is pretty damn close.
In 50 years Herrmann will be forgotten.
#338
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Posted 12 April 2011 - 01:07 PM
Does he sit at the right hand of his Master?
#339
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Posted 12 April 2011 - 01:26 PM
Did Scott and Zimmer have some kind of falling out on 'Kingdom of Heaven'? I remember that Zimmer was supposed to score it, but then he swapped with Gregson-Williams for 'Over the Hedge.' It seemed like Scott and Zimmer were pretty in sync there for that five year stretch spanning from Gladiator to KoH. I'm no cheerleader, but I prefer him to Streitenfeld.
Anyone know anything about this?
Anyone know anything about this?
I try more and more in my films to suppress what people call plot. Plot is a novelist's idea. - Robert Bresson
#340
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Posted 12 April 2011 - 02:52 PM
Not close, he is. Worked as Zimmer's personal assistant for years until he got his first gig on A Good Year.
Long as its not media ventures lot.
Streitenfeld is pretty damn close.
He should have sticked to that job. By far he is the worst of Scott's composers.
#341
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Posted 12 April 2011 - 02:59 PM
1 cue and it wasn't even written by Zimmer.
#342
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Posted 12 April 2011 - 04:52 PM
As far as I know, there were no disputes between Zimmer and Scott. It's fairly evident that Ridley doesn't like to stick with the same composer forever. He had his run with Vangelis, Goldsmith, Zimmer, and now Streitenfeld. I don't recall Zimmer being attached to Kingdom Of Heaven. Either way, Harry Gregson-Williams was never a part of Over The Hedge. That was his brother, Rupert. Zimmer produced that one as he pretty much does for all DreamWorks Animation films. Harry was pissed that Ridley replaced his music with Goldsmith and other composers without consulting him, so that's why they never worked again after that.Did Scott and Zimmer have some kind of falling out on 'Kingdom of Heaven'? I remember that Zimmer was supposed to score it, but then he swapped with Gregson-Williams for 'Over the Hedge.' It seemed like Scott and Zimmer were pretty in sync there for that five year stretch spanning from Gladiator to KoH. I'm no cheerleader, but I prefer him to Streitenfeld.
Anyone know anything about this?
Not close, he is. Worked as Zimmer's personal assistant for years until he got his first gig on A Good Year.
Long as its not media ventures lot.
Streitenfeld is pretty damn close.
He should have sticked to that job. By far he is the worst of Scott's composers.
He's not bad by any means, I think he's pretty damn good and has a unique compositional voice. Personally I would take his scores over Trevor Jones' G.I. Jane.
In 50 years Herrmann will be forgotten.
#343
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Posted 12 April 2011 - 05:41 PM
He's not bad by any means, I think he's pretty damn good and has a unique compositional voice.
I can't hear that yet. There are certain composers like Zimmer or Mansel who, despite lack of certain skills, can offer something substantial nonetheless. And there are ones who can't. Streitenfeld is one of the latter.
#344
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Posted 12 April 2011 - 06:23 PM
I've done this exact same thing with Morlock before, but these are clearly by the same composer to me:
...and for some reason the media code isn't working.
...and for some reason the media code isn't working.
In 50 years Herrmann will be forgotten.
#345
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Posted 12 April 2011 - 06:58 PM
You can't paste "youtu.be" links into the [media] tag, you have to use the full "www.youtube.com/watch?v=" links
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#346
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Posted 12 April 2011 - 07:02 PM
Ah, okay. Thanks.
In 50 years Herrmann will be forgotten.
#347
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Posted 12 April 2011 - 07:02 PM
Numbnuts!
#348
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Posted 22 April 2011 - 06:14 PM
-Jay
#349
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Posted 22 April 2011 - 08:26 PM
As far as I know, there were no disputes between Zimmer and Scott. It's fairly evident that Ridley doesn't like to stick with the same composer forever. He had his run with Vangelis, Goldsmith, Zimmer, and now Streitenfeld. I don't recall Zimmer being attached to Kingdom Of Heaven. Either way, Harry Gregson-Williams was never a part of Over The Hedge. That was his brother, Rupert. Zimmer produced that one as he pretty much does for all DreamWorks Animation films. Harry was pissed that Ridley replaced his music with Goldsmith and other composers without consulting him, so that's why they never worked again after that.
Did Scott and Zimmer have some kind of falling out on 'Kingdom of Heaven'? I remember that Zimmer was supposed to score it, but then he swapped with Gregson-Williams for 'Over the Hedge.' It seemed like Scott and Zimmer were pretty in sync there for that five year stretch spanning from Gladiator to KoH. I'm no cheerleader, but I prefer him to Streitenfeld.
Anyone know anything about this?
Not close, he is. Worked as Zimmer's personal assistant for years until he got his first gig on A Good Year.
Long as its not media ventures lot.
Streitenfeld is pretty damn close.
He should have sticked to that job. By far he is the worst of Scott's composers.
He's not bad by any means, I think he's pretty damn good and has a unique compositional voice. Personally I would take his scores over Trevor Jones' G.I. Jane.
Personally, I wouldn't take EITHER. Why would we have to?
He hired Dario first, and the score was rejected (don't know if by him or some studio interference), on "A Good Year", so he might have Dario in mind, too.
REJECTED FILM SCORES SITE
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#350
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Posted 30 April 2011 - 09:47 AM
Pictures, visual images, are far better to achieve that end than any words, particularly now, when the world has lost all mystery and magic and speech has become mere chatter, empty of meaning - Andrei Tarkovsky
#351
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Posted 30 April 2011 - 10:01 AM
This is a movie I remain firmly unexcited about.
That's not to say I'm not open to pleasant surprises.
That's not to say I'm not open to pleasant surprises.
#352
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Posted 30 April 2011 - 10:06 AM
Great cast, am excited for this like no other movie. I wonder when the first teaser will surface.
Repeat the JWFan pledge after me: 'I hereby recognise John Towner Williams' place in the world as the great composer there has ever been, and I therefore renounce the works of Rozsa, Korngold, Herrmann, Horner, Kamen, Giacchino (unless the prophecy is fulfilled and he becomes the heir to JTW) and Goldsmith, especially Goldsmith. I understand that if I ever refer to Jurassic Park as anything less than "a masterpiece sixty-five million years in the making" I will be resigned to living out my days at the Zimmershrine.'
#353
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Posted 30 April 2011 - 10:13 AM
I guess I've just become to accustomed to disappointment in recent years.
#354
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Posted 30 April 2011 - 10:21 AM
#355
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Posted 30 April 2011 - 10:26 AM
I'd like a world in which Guy Pearce was in each and every film and where all the roles in a film were played by him and him alone.
#356
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Posted 01 May 2011 - 05:51 AM
I like Pearce as an actor. I often wonder why we don't see him in more films.
I believe the article says it. They tried to make a big star out of him but apparently the public has no need for him. He doesn't have what it takes to be a Tom Cruise, Harrison Ford, Bruce Willis, James Stewart, ... Heck, he even doesn't have what it takes to be a Jake Gyllenhaal.
Alex - who thinks Pearce is going to be a fucking robot in the new sorta Alien, sorta not Alien film
Pictures, visual images, are far better to achieve that end than any words, particularly now, when the world has lost all mystery and magic and speech has become mere chatter, empty of meaning - Andrei Tarkovsky
#357
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Posted 01 May 2011 - 08:18 AM
Two robots then?
Repeat the JWFan pledge after me: 'I hereby recognise John Towner Williams' place in the world as the great composer there has ever been, and I therefore renounce the works of Rozsa, Korngold, Herrmann, Horner, Kamen, Giacchino (unless the prophecy is fulfilled and he becomes the heir to JTW) and Goldsmith, especially Goldsmith. I understand that if I ever refer to Jurassic Park as anything less than "a masterpiece sixty-five million years in the making" I will be resigned to living out my days at the Zimmershrine.'
#358
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Posted 01 May 2011 - 08:31 AM
Yes, Pearce will be the unexpected surprise twist moment robot with a different agenda (psst, the evil robot!).
Pictures, visual images, are far better to achieve that end than any words, particularly now, when the world has lost all mystery and magic and speech has become mere chatter, empty of meaning - Andrei Tarkovsky
#359
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Posted 01 May 2011 - 09:14 AM
From what I remember he turned down several offers to play so-called big parts. Maybe he's next generation's Sean Connery (LOTR anyone?) or maybe he wasn't all that interested in being a massive star. I like the guy, he's a good actor.
I like Pearce as an actor. I often wonder why we don't see him in more films.
I believe the article says it. They tried to make a big star out of him but apparently the public has no need for him. He doesn't have what it takes to be a Tom Cruise, Harrison Ford, Bruce Willis, James Stewart, ... Heck, he even doesn't have what it takes to be a Jake Gyllenhaal.
Alex - who thinks Pearce is going to be a fucking robot in the new sorta Alien, sorta not Alien film
Karol
From a storytelling point of view, from a directing point of view, there is one thing I associate with what he does, which is calm. There is such an inherent calm and inherent trust of the one powerful image, that he makes me embarrassed with my own work, in terms of how many different shots, how many different sound effects, how many different things we’ll throw at an audience to make an impression. But with Kubrick, there is such a great trust of the one correct image to calmly explain something to audience. There can be some slowness to the editing. There’s nothing frenetic about it. It’s very simple. There’s a trust in simple storytelling and simple image making that actually takes massive confidence to try and emulate.
- Christopher Nolan
#360
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Posted 01 May 2011 - 09:24 AM
Did he really turn down LOTR, or is that a myth?
Repeat the JWFan pledge after me: 'I hereby recognise John Towner Williams' place in the world as the great composer there has ever been, and I therefore renounce the works of Rozsa, Korngold, Herrmann, Horner, Kamen, Giacchino (unless the prophecy is fulfilled and he becomes the heir to JTW) and Goldsmith, especially Goldsmith. I understand that if I ever refer to Jurassic Park as anything less than "a masterpiece sixty-five million years in the making" I will be resigned to living out my days at the Zimmershrine.'
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