Jump to content

Leaderboard

Popular Content

Showing content with the highest reputation on 17/03/21 in all areas

  1. Brainstorm! Braintorm again! Or E.T.
    6 points
  2. He, he...indeed. I hate my advanced age in terms of physical decay, but I'm so thankful that I got to experience a time of more "happy-go-lucky joie-de-vivre", where heroes were proper heroes and empowered female characters just grew naturally out of the story (like Ripley or Sarah Connor) rather than being hammered over the head about how empowered they are (like Enola Holmes or 2020 Mulan).
    5 points
  3. ...and the Bastard Dad Of All Time award, goes to...
    4 points
  4. The play is called THE MADNESS OF GEORGE III, but it was changed, because the studio thought that people might ask "What happened to GEORGE I, and GEORGE II?"
    3 points
  5. Fenton was always great at combining his own music with existing classical music (or approximating classical music styles in general). This - alongside THE MADNESS OF KING GEORGE - are the best examples. Great score!
    3 points
  6. E.T. The Extraterrestrial (LLL) A few nice days of weather made it feel like spring. And with spring, I always get in the mood for this score.
    3 points
  7. 3 points
  8. Sorry to quote myself, but I have really a crush for this score. It's poetic, it evoke the sea, it's a great great great discovery. I will try to listen to the original version too.
    2 points
  9. Saganne certainly belongs to the former category, it's pure romance, but not in the Captain Obvious/John Barry way.
    2 points
  10. Skittles > diabetes > Wilford Brimley Disney+ is adding the Ewok movies next month Ewoks (The Deluxe Edition)
    2 points
  11. Skittles: The Movie Gutter: The Movie There, I solved it. You're welcome.
    2 points
  12. Thanks, crumbs. I apologize for the words I used. I know very well that the great majority of the people on this board are very passionate about JW music and they understand how much of a challenge is to produce recordings such as this, so any feeling of disappointment that might occur is mostly because they'd love to see more of the Maestro's music appreciated and celebrated. I am sure many of us will enjoy a lot this new release and let's hope is a good sign of more things to come in the future. Cheers everyone
    2 points
  13. Stefan was saying to me about it the other day actually, that it's probably a matter of time before Indiana Jones is cancelled, at least as far as his second instalment goes. Or will wokies settle for a straightforward warning alert at the beginning of the film, which explains to snowflakes that the film features deeply offensive stereotypes and other problematic themes from yet more bygone times, who knows.
    2 points
  14. Don't you rate the Indy/Mutt relationship in KOCS, @Chen G.?
    2 points
  15. I also would have liked to see Goldsmith's "Legend" in 85 under the nominees. In my opinion better than for example Witness from Maurice Jarre.
    2 points
  16. In any other year, Poltergeist would be a worthy winner, but ET is a classic.
    2 points
  17. 2 points
  18. And I apologise for the negative tone of my earlier posts. It's worth celebrating any orchestra who performs JW's music, even moreso when their resources are devoted to a commercial release of his music. I hope my comments weren't construed as disrespectful to the work put into this release; I genuinely appreciate the complexities involved. I hope this album is a commercial success for the orchestra, especially in these challenging times for orchestras worldwide. Hopefully we can look forward to even more recordings of the Maestro's music in the future, highlighting JW's rich (and very deep!) catalog of works.
    2 points
  19. It's my favourite Herrmann too. I have the same one as you have, which is the best version, IMO.
    1 point
  20. The SABAM repertoire recently added entries for the series 2 releases, revealing full track credits including additional composer credits! (Unfortunately, there's currently no way to know which cues/parts of the track each did without a full cue list)
    1 point
  21. Horner got so rich with Titanic he pratically stopped doing blockbusters for a while. This probably explains why he spent his time between Titanic and Avatar doing small budget movies like House of Sand and Fog, Boy in the Stripped Pajamas, etc.
    1 point
  22. Or Roy Budd, since he was working at his magnum opus at the time. I wonder how much that amounts to, excluding the royalties that was part of the CD sales.
    1 point
  23. There Will Be Blood?
    1 point
  24. His review is not quite as sycophantic as one might expect for someone giving a glowing review, and that’s refreshing. But he lost all credibility when he said JXL’s score was not only brilliant but almost as good as BvS. Sorry pal, I wanted to give you the benefit of the doubt, I really did.
    1 point
  25. Jeez, I had forgotten that Alien wasn't even nominated; What a joke. That would have been my pick if it was in the poll, but I picked Star Trek TMP instead, another masterpiece from Jerry in the same year
    1 point
  26. I don't think the portrayal of any of the the Indians in TOD, from the villagers to the villains, would fly today either. In fact the whole idea of an American white male archaeologist flying around the world stealing artifacts from the poorest countries would probably result in the cancellation of everyone involved.
    1 point
  27. Here's why I think I prefer Willie Scott now. At least Willie is written in a way that's true to her character: she's a girly-girl nightclub singer who doesn't like getting her nails broken or hair messed up. As @Thor said, that's how she's set up from the start, and that's how she acts throughout. Then later when she's pleading desperately for Indy to "snap out of it" and spits in his face, the set up makes for that great character moment later, and it works. Marion, on the other hand, is set up as this tough broad who lives in Nepal and can take care of herself, but then spends the rest of the film screaming, panicking and waiting for Indy to save her. Indy's line about Scott ("The trouble with her is the noise") is actually much more descriptive of Marion.
    1 point
  28. 1 point
  29. Agreed, and since my taste is uniformly excellent, I'm going with CONTACT . Since I bought my car, I tell my friends (and in a very passable John Hurt voice, I might add): "I find it convenient to keep my interests...mobile". They have a good laugh, at that.
    1 point
  30. It's a fantastic film that still holds up, all these years later (it was a fav of mine as a teenager). Obviously, the centerpiece of the score is the "Chase" theme, but there is so much more interesting going on in terms of the avantgarde, zithering electronic textures that almost paint - in sonic strokes - the decaying walls of the Turkish prison. But on album, these tracks are quite challenging on their own - needs a proper frame of mind.
    1 point
  31. Why? Agree! Feel like the Academy has always hate Goldsmith for some unknown reasons. IMO the 1979's ceremony is the worst of the decades, the only one I would have nominated here would be Star Trek. My personnal selection: 1941, Dracula, Alien, Star Trek, The Black Hole
    1 point
  32. I think it just reflects the topic starter's opinion.
    1 point
  33. I think it's the best trilogy
    1 point
  34. Wow. Alright. I well understood the point of what we're talking about. I was responding to things directly mentioned by you in your post where you seemed to misunderstand what I was saying initially, that's why I quoted each segment and responded. Just because I chose to respond to certain things in your post doesn't mean that I missed what the overall discussion was about. I read your post and had specific thoughts on certain things you mentioned. I chose not to respond directly to the bigger issues because it's a LOT to cover in my eyes. Instead, I opted for a direct response to the more specific points in your post. Responding directly to things that you mentioned yourself. The only reason I started discussing front cover credits is because you mentioned it as if it was something that Zimmer and everyone who does this always does. That's not true at all. That's why I went into that because you mentioned it. I'm well aware what the discussion was about, because I can read. Thanks. Now, if I have to get into the bigger topic at hand or else I get treated like an idiot. Fine. I'm well aware that this is the reality now. Most of us are. I mentioned several times that I'm not a huge fan of it, which means I know it exists. Perhaps I was too focused on RCP and didn't also directly critique everyone who does it. That's my bad, but yes I am aware of how it works. Again. Thanks. From my perception, it has definitely been going on for awhile, but RCP has sort of lead the charge on that sort of thing. And many of the composers you keep mentioning have some connection to that. Here's what I'm saying so that it is crystal clear: RCP seemed to be the frontrunner in this collaboration, score by committee, mentality and basically speeding up the workflow. That made them very attractive to studios who want to make them as quick and as painlessly as possible as well as please as many people as possible. Other composers have had to start doing it to keep up with them. So yes, Marco Beltrami works with people, James Newton Howard works with people. Tyler works with people. Giacchino works with people now as well. That disappoints me. It doesn't have to just be Hans Zimmer that's doing it for it to disappoint me. I have far more respect for composers who can complete the work on their own (which it seems now that Junkie XL is capable of, so good for him), sometimes even within a similar timeframe, and I find that it seems to result in better scores, in my opinion. Less cooks in the kitchen. I also don't find that I personally would ever feel comfortable slapping my name on something and taking all the credit if I was not the only person doing the work. That very much rubs me the wrong way and I'd prefer people credit who they work with on the front covers. Zimmer is not the only offender, but he is for sure, one of the biggest ones as far as I've seen. That is very much an issue I take with the culture of collaboration. If it's collaborative then list your collaborators. That's why I focused on that, because it's a very obvious issue I have that is part of the bigger issue. This may be considered too political...I'm not sure. It depends on how it's perceived, so if I need to remove this or just delete this post altogether I can. No qualms from me on that. I know that it's true for most industries and I think it's bullshit. Yeah, I have and do work in a competitive industry and yes, I am aware that if you can do work fast and maintain some level of quality then the business rewards you. I experience that most days. I'm critiquing that very mentality. I do think that if we slowed down a little bit then quality would go up. I know many projects of mine that could've turned out better had I had a bit more time. So why not everyone slow down and take a little more time? Because then we can't make more money faster. It's a very business first approach of looking at art. If great business is your primary function, then great art won't be. Great art by it's very nature doesn't please everybody and takes risks. Risks and not pleasing as many as possible is also bad for business. So when you make art into a business you have to walk a very fine line. I found nowadays we've ventured far more into the business side of the film industry. I suppose I used to perceive the film industry as trying to capitalize on great art, but now it seems like it's just trying to use business to make any other product. Maybe it's because I've gotten older, but (and I don't know about you or anyone else on this board) I have found myself loving and looking forward to current crops films and film scores less as time goes on. I remember years where there were tons of scores or films to be excited about and now? Well. I buy less and less of the new stuff, because when I hear it in the film or even stream it somewhere first... it's just not interesting to me anymore. It doesn't speak to me anymore. I have even more fondness for these expansions of older film scores and rediscovering scores that I still love, even including scores by Hans Zimmer. But Hans Zimmer doesn't seem to make music I love anymore. A lot don't. Williams still does. I don't want to seem melodramatic or anything. I do still find stuff I like, but it's definitely far less common now for me than when I remember to years ago. To pull this point back up from one of your previous posts. Yeah, we romanticize it, because we used to get absolutely incredible music that was complex, beautiful art with so much to say, even in the context of the business of Hollywood. It felt more like an artform and so we treated it as such. As far as pen and paper. I don't think anyone here is under the assumption that everyone outside of RCP writes only with pen, paper, and piano, so no need to generalize and treat us all like idiots. Giacchino does synth demos, Desplat does demos, Powell does demos just to name a few for you. Most people write shit in the computer. We're even getting scores from composers I like that are using synth orchestra due to the pandemic (I believe, but I could be wrong) We're all well aware, thanks. Again. As far as why I don't care for RCP specifically? Well, again, it seems like they're the ones that spearheaded this whole quick and mass production of film scores state we're in and also seem to be the largest offender of not crediting people properly among other things. Plus, in my opinion, their "product" is diluted a lot. Very little of what they make resonates with me. Someone like Bear McCreary on the other hand has interested me and spoken to me with his scores more often recently. Why? I don't know. It's subjective. I imagine the rigorous commitment to being a film score shop may have a little to do with it, but that can't be fully it since Bear also "collaborates". I don't know man. There. I tried. I don't think we'll come to any more of an understanding, because we both seem to be frustrating to each other, but those are my thoughts as flawed as you may find them to be.
    1 point
  35. I've never really done any research on him and I don't care to. All I know is that I've always enjoyed the movie, story and concept, and I figured the book might be worth a shot.
    1 point
  36. Junkie says in the interview, he still worked on MOS - where was his credit? From ZSJL's credits below - "The Girl" From Batman V. Superman: Dawn Of Justice Composed By Hans Zimmer, Robert Badami, Melissa Muik, Mark Andrew Wherry And Steve Mazzaro "Wishlist" From Batman V. Superman: Dawn Of Justice Composed By Hans Zimmer And Benjamin Wallfisch "Main Titles Part 1" From Batman V. Superman: Dawn Of Justice Composed By Hans Zimmer, Robert Badami, Melissa Muik And Mark Andrew Wherry "The Warden" From Batman V. Superman: Dawn Of Justice Composed By Hans Zimmer And Steve Mazzaro These people contributed significantly to BvS in some of the most famous pieces. Where is their credit? Borat 2 today got nominated for a screenplay oscar and had 9 people credited. It is only fair that if 9 people worked on a film score, the opening music by credit has 9 people.
    1 point
  37. Sigh, Good grief. You really have no idea what I'm saying do you? Let's unpack this. I can't tell you how many scores out there from RCP that have co-composers that are NOT on credited on the cover. Most commonly, Hans Zimmer gets cover credit and you barely ever know that other people worked on it. Even Amazing Spider-Man 2 lists the team of people he worked with as "The Magnificent Six" (featuring the marketable names of Pharrell Williams and Johnny Marr). How about Angels and Demons? Cover only lists Hans Zimmer with solos by Joshua Bell. Meanwhile Lorne Balfe, Atli Orvarsson, Geoff Zanelli, Mel Wesson, and Nick Glennie-Smith are all listed as composers on various cues. I...what? They could each be off composing their OWN scores. Instead they're all working on ONE score together. What are you on about? You realize that most scores RCP does are big blockbusters right? Those are almost always a huge time crunch. It's VERY common that Zimmer scores have 4-6 composers on them. I just listed two above: The Amazing Spider-Man, Angels and Demons. Here's some more for Zimmer specifically: The Simpsons Movie (6 Additional Composers, only Zimmer is credited on the cover) The Da Vinci Code (4 Additional Composers) Pirates of the Caribbean (Basically all of them, which you mentioned already) Man of Steel (3-4 Additional Composers) Inferno (4 Additional Composers) Batman V Superman (4 Additional Composers) Shall I go on? That's a completely different thing. In that case those are two composers that always work together and are always listed as co-composers especially on the cover. In that case, they are commonly doing equal work on the score. There's a big difference between saying a score was composed by Trent Reznor & Atticus Ross and it literally JUST being those two and saying a score was written by Hans Zimmer when there are anywhere from 2-6 or even 7 other people attached to it that are not listed with him. Who knows how much actual work each person contributed to that score? At least I know that when a Williams score comes out there's a lot time and dedication from exclusively one guy put into this score. Are the RCP composers successful? Clearly. But they're successful in the modern day industry where movies are pumped out so fast that you need a team of 5-7 people to keep up with it. Who's score even is it then? Does that not dilute the music to have to also pump it out so fast? They might as well just start marketing all their scores as "Music by Remote Control Productions". You're essentially arguing that quantity and speed is the marker for success and skill and that is simply not always true. When you are dealing with doing things fast and doing more things in a year...the quality itself tends to suffer. And that is my issue with RCP scores. They're almost never as good as they could be and it makes a lot of sense why a lot of that stuff sounds the same. It probably makes it easier to pump them out.
    1 point
  38. About 40 minutes of JW material for Time Tunnel and about 40 minutes of JW material for Land of the Giants. How conveniently close to about one CD's worth of music.....
    1 point
  39. Can’t drop a baby penguin off a cliff in Galaxy. EDIT: that’s a vote for SM64, if that’s not clear
    1 point
  40. I apologize if anyone else felt offended by my words. I deleted my previous post. Sorry.
    1 point
  41. I know a great clue they could use for Brainstorm......
    1 point
  42. 1 point
  43. We've reached the end of another year at Hogwarts! It's hard to believe it's here already. Enjoy the bittersweet ending to Harry Potter and the Order of the Phoenix with Cue No. 36: The Second War Begins and Cue No. 37: The Prophecy and Leaving Hogwarts Again. Stay tuned for the end credits next week!
    1 point
  44. It's no secret what happened. Have you ever played that game where you sit in a circle and tell a story together, with each person only contributing one word before passing it along to the next person? The dynamics of the group make a big difference. Some people will take an improvisational "yes, and" attitude and try to continue the story their predecessors are aiming for; others will decide they've got a better idea and take the thing in a completely different direction. In that game, the latter approach often yields hilariously absurd results. But in filmmaking, playing out over multiple films, it tends to just yield sucky sagas. (Even if a lot of the individual ideas are quite strong.)
    1 point
×
×
  • Create New...

Important Information

By using this site, you agree to our Guidelines.