Leaderboard

I love the score to Mission to Mars

You can twist any composers work negatively cant you?

R.I.P. E.T.

I have a slightly different Barry for tonight: Karol

It's moronic. And you are a whore that would side with Pinochet if it helps your own fallacious agenda.

Does that matter?

It's not...god knows what turns hordes of film music fans off that organ.

For goodness sake why? It's a good song! Yeah Shore didnt write it, so what? Get over it!

It would probably sound something like A.I I'm guessing.

E.T. is boring. It's got big schmaltzy tunes that appeal to witless posers like yourself, which would be fine if you didn't take that astonishing ignorance to the next level by being such a critical prick about people who want to think about music, the theory behind it, and experiment with it. If that seems like an overreaction just consider it a response to the numerous times that you've taken your quasi-superior position against people who can't just "enjoy the music".

That's a grand piano with the lid open and strings exposed. The brass players simply stand around the piano (which would be mic'd - both close and ambient) from various distances, and direct their bells at it. Likewise with singers. It's a avant-garde technique that comes from spatial music. The exploring the natural resonances of instruments and how spaces distorts what we hear.

It will look awesome! Even the dwarves riding billy goats!

If you insist! https://www.youtube.com/watch?v=O5XrrBXASMw

It was nothin' like that, penis breath!

BORING score to a BORING film.

But that's kind of the point. Ellie doesn't get a lot of answers in the scene, either. It's a glimpse into the larger universe, but not the big, all explaining revelation she was probably expecting. Her personal "that's it" moment. And as Drax said, it's set up right from the beginning. And conceptually it's the same as the 2001 finale - an alien civilisation using the memories of the protagonist to create an environment that he/she would be familiar in. Personally, I'd prefer the beach to that creepy hotel.

Beorn theme was originally written during AUJ? Interesting. Is there a specific reason for that do you know?

I think it was basically the same in the final film. Lots of footage of Conrad Pope conducting now, with various orchestra members getting interviewed, really cool stuff. Wow a flute solo version of the Lake-town theme!

I suppose most of you are missing the real reason why they chose to use a beach to comfort Ellie.

Colour me intrigued. This one track sounds better than the entire Batman trilogy, that's for sure. Karol

In all fairness this seems like a statement of fact and not speculation Jason.

Contact First time watching it. Decided to check it out becaues of the pre-Interstellar mood I'm in. This is a lovely piece of idealistic sci-fi isn't it? Has a whole lot of heart to it. The only part that nearly broke it for me was the end, but even that worked to a degree because of the heart behind it all. It's not perfect, you could argue it's leaning too heavily on the sentimental, and it's not without its flaws, but you can't help but appreciate it. This might be my favourite Zemeckis film. They sure don't make 'em like this anymore!

How do we know the opening track is actually Smaug's attack on Esgaroth? Could be something different as well. Or there could be a very short flashback, which segues right into Bard in his cell, or whatever. Plenty of possibilities. But seeing how Jackson apparently tries to make this the shortest of all films, I wouldn't be surprised to see no prologue. But I wouldn't be surprised to see very long tracks either. Since Shore writes long pieces anyway, that's definitely possible.

I'm gonna be honest. The best TV I've ever had was a Sony flat screen tube television from the early-mid 2000s. You know, one of those big bastards that you'd walk into Circuit City and see the Terminator 2 Extreme Edition being advertised on.

Spider-Man 3 - Christopher Young It's still a damn shame Sony won't give this a proper release. When you remove the temp-tracking and re-recordings of Elfman's themes by John Debney and Deborah Lurie -- and focus on Young's score that remains -- it's a strong effort. And some of his rejected themes were beautiful, especially the Peter and MJ one.

Alan Silvestri! Versus! James Horner! BEGIN! Silvestri: The rip-off king stands here before me! No matter what, you can’t outscore me! Like Beowulf, I’m gonna rip you apart. I’ve seen you rap. You’re no Braveheart. Your work’s spread thin and so are your themes. You’re only famous in a Field of Dreams! Your career is splintered, mostly boring, and My career took off in Doc Brown’s Delorean. I got Avengers, Predator and Van Helsing While your one-hit wonder rode off with Celine. The only Deep Impact you walk away from are the ones I make. You still want some? Horner: This rap battle’s got you in a panic! You’re sinking faster than the Titanic! The only three films you scored nicely Is Back to the Future, Parts 1, 2, and 3. From A Beautiful Mind comes a score I plan Like Avatar and Bicentennial Man. My music’s the stuff that gets the ladies Meanwhile, you’re stuck back in the 80s. It’s not my fault you’re in The Abyss. My prolific work just can’t be dissed. Unlike your scores, there’s no sequel To a lyric of yours so bland and dull. (To be continued...)

It's an interesting score, given that Rozsa didn't really have an opportunity to do something like this before. And that makes it quite unique among his epics. Feels more intimate than those. Zodiac by David Shire. Must be one of my favourite scores from the 00's. It conveys so much information with so little. The film is sparsely scored and the composer uses every single note to say something - it's absolutely astonishing what you can do few unresolved chords like this. It's certainly not a wallpaper, just an intelligent piece of music from someone who knows their stuff. And yes, I do realise there's quite an close connection to Charles Ives in there. From my understanding that's intentional. A fabulous example of how to approach a thriller and make it interesting. Learn from the master, youngsters! Karol

I think that's the answer! Interesting. Reminds me of the steel cello.

Personally, I've only seen it at home (HD streaming), and I agree, half through the movie I realized, I don't wanna see it again. But then the question arises, if it doesn't have any replay value, how good can it be (even for those who loved it?) Again, speaking for myself, it's one of the few movies that I knew I wanted to see again right when it was over and the only one I saw twice in a cinema last year. I would argue it's an incredibly easy movie to replay for those of us who enjoyed it...pretty brisk entertainment, great spectacle, only 90 minutes, a solid emotional center, and just fun to watch. It's not particularly stimulating intellectually but so what? I think it's packed with sequences and moments that reward on a purely visceral level multiple times, not far off from something like Die Hard or Raiders of the Lost Ark for me at all. I think it definitely follows in that tradition and does it far more expertly and with greater economy than just about every action film that has tried since then.

Hitting a single key for "chaotic" brass is nowhere near as fun as playing in six separate aleatoric horn parts.

This is a very good point about the so called "commodification" of dissonance. There are now standardized methods for achieving certain effects, rather than anything creative and experimental. Looking at a Bryan Tyler score is surprisingly advanced in its methods, but then you realize they're the same methods being used all over to the same familiar boring effect. You don't get Goldsmith or Williams or even Horner "wildness" anymore. You get a preset from a sample library labeled "chaos".

Bah humbug, Flashdance in the title and no one has posted the youtube vid of JW conducting this!

Personally, I would say that the nomenclature Nature's Reclamation makes no sense.