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Everything posted by publicist

  1. No, he stayed there, no recordings of his were done in Germany. Maybe Joel's Moon 44.
  2. Why not line up 'Vibes' vs. 'Deep Impact'? I'm sure there are even more precious examples, but i mean, come on.
  3. 'One notices' reuse/self theft in Horner when one isn't deaf or a complete moron. Btw, this late 2019c recall of Horner/Newton Howard/Shaiman and Co. 90's romantic scores still gets me smiling at the sheer audacity of it's unabashed loveliness.
  4. Many composers shared this burden. 'Edward Scissorhands' and especially 'Beetlejuice' were all over 90's movie temps and you'll hear it if you know where to look.
  5. Reading between the words, this big corporation either has no standards or processes - like sending an e-mail from department A to B - or someone just didn't do his/her job. It's absolutely inconceivable that a project with a gestation period this long found no time to clear a simple question like that. So my assumption is that there was a clear understanding until last-minute meddling that resulted in this whole mess and frankly, JW loses sympathy points from me getting involved as a 800-pound gorilla in this matter. His Obi theme isn't nearly as good or rewarding to warrant the whole brouhaha, and the series isn't very good to begin with, so why bother at all? Like i said, he should have let it go.
  6. There's no such cue on whatever official or unofficial Avatar release. Even the action cues of the Zorro sequel runs circles around that.
  7. RIP, and because it fits the hot day i'm going to enjoy his appropriately aggressive low-end piano playing on this appropriately aggressive western score.
  8. I would call it Horner's magnum opus, even if i like other themes of his much better, but here he draws from all ages of music history (ancient folk songs, romantic period, baroque, if we count Mozart as such, modernism รก la Penderecki etc.), and it all comes together.
  9. Horner: all the Zorro's, Perfect Storm Goldsmith: Hollow Man, whatever there is of 'Babe' and 'The Kid' (demos or new recording o sketches) Zimmer: Gladiator, Pirates 3, Hannibal Goldenthal: Batman whatever, Sphere JNH: Postman, Hidalgo
  10. Certainly worked for me on 'The Mummy', where i never picked up all the noise and separation issues mentioned.
  11. A german friend and classical/crossover sound engineer sometimes uploads his own adjustments of Intrada albums mixed by DF and he regularly complains that the guy is an amateur who often does things you just don't do when you are a professional working in this field. This is what he wrote about The Last Castle and from memory, apart from the clicks and pops issues etc., that was his major complaint, that DF often does things that leave out important groundwork, i. e. finding a consistent volume level, randomly applies gain to loud and soft parts without consideration to the next cue etc. I'm not an expert, so take this with a grain of salt, let's just say i agree that his adjustments of really sound much more smooth and less idiosyncratic.
  12. What a great September 1997 this was, Air Force One had just come out, and another parcel with 7YiT and The Edge arrived 3 weeks after.
  13. It's at least available: http://flimmerstube.com/video/vip/9276/krimi/der_mann_der_zweimal_lebte_1966
  14. Often too slow and languid, even by Barry standards. Some of the long-lined melodies die a prolonged and agonizing death. I didn't even bother with Volume 2. Rumor has it that 'Moviola' (the cue) was the rejected theme from 'Prince of Tides'.
  15. There's nothing exactly special or memorable about a lot of JNH's of late, so together with Red Sparrow's big ballet sequence written around the same time and boldly connecting a ballet/action sequence it was a short and welcome russian blossoming.
  16. Tbh, for a film music fan it's rather an upgrade, as it integrates the material smoothly in a modern setting. It was clear from the beginning that the whole project was doomed, but when i hear some of the cues especially from the first half now, i enjoy them sure more than i. e. the Fantastic Beasts sequels.
  17. On what do you base this? Large parts are based on and written around one of the greatest fantasy ballets ever. And those moments make it actually one of his most charming/Williams-esque works.
  18. Mulan = 1998 Gladiator = 2000 And of course, Jerry modeled his 13th Warrior theme on 'Crimson Tide' (temp track), so he probably was mindful of the general trends.
  19. I mean, you use the term 'jazz' and then go off on a tangent into what people think of it according to...you asking three guys? I wouldn't expect a sound academic theorem on a messageboard, but the way you mix all these musical and sociological things into one question like this kind of boggles the mind.
  20. You shoehorn your extremely narrow definition of jazz into a puzzling conclusion. Basically, irish folk music and negro work songs from the cotton fields of the Old South (having their roots in Africa, of course) coalesced into modern popular forms, gospel, jazz and swing first, beat and rock 'n' roll later, right up to glam rock and new wave. Unfortunately in german, but here you get an idea of what jazz actually is (and influenced):
  21. My point still stands: whatever it looks, it's looking dangerous and i wouldn't want to be around it.
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