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Everything posted by publicist

  1. Britell's talent is rather that he can write chamber-sized music well. Ask any pro about that: before you can run you need to walk. You don't need much musical talent to make music sound BIG the way RCP does it. To do it good, you better learn how to write effectively for 10 instruments, the rest will follow naturally (Goldsmith and Williams repeatedly mentioned how helpful their salad years were in developing their craft).
  2. In Steven Smith's immensely entertaining book are numerous references to that in Steiner's jokes to orchestrator Hugo Friedhofer on top of his cue sheets (some of them are absolutely hilarious, in a Porky's kind of way, like he informs his orchestrator how actress Viveca Lindfors exits a scene, while Errol Flynn stands on - and that *his* is standing, too, at the sight of the young beauty).
  3. No, only some theme demos, nothing even recorded with an orchestra, afair.
  4. It's a faker movie. Spielberg uses mimicry to set up appropriate scenes like they were from old John Ford or Jean Renoir et al. movies, but it becomes a problem if that is the whole raison d’être. He never seems to have a real grip on the story, or more than a feigned interest in it. The same for WSS, but much more acutely. In the olden days, directors were assigned stuff they had to shoot and tried to get done with things they weren't interested in as quickly as possible. Why the Spielberg of late so often seems drawn to material that gives you exactly that kind of feeling is anyone's guess.
  5. Clint Mansell's latest for a psychological horror movie called ‘SHE WILL’. The film explores the story of a woman who after a double mastectomy, goes to a healing retreat in rural Scotland with her young nurse Desi. She discovers that the process of such surgery opens up questions about her very existence, as well as unleashing mysterious forces to enact revenge within her dreams. On the atmospheric side, though set apart by the syncopations of a chanting chorus (the main theme, i. e. in Incantation). It's one of the more interesting psycho horror scores in some time, it will take some concentration to become ensnared in its grip.
  6. It's one of the great, rousing adventure scores from Hollywood's Golden Age (and the recording is fair, though not matching Gerhardt's, but who is?), but then i felt the same problem i often have with recent releases: it's too much bloody music. Would have been twice as great at 50 minutes. Jack Warner apparently was as ignorant as modern producers, saying to Max Steiner at one point: 'Look, why don't you just compose for all the scenes, we can still cut out some stuff later'.
  7. War Horse was a dry run for 'West Side Story', where the shit really hit the fan.
  8. Always loved the octave leaps from the woodwinds in Dracula's theme here. Stuff like that made it clear immediately that this music may have been orchestrated 'classicaly' (for standard 19th century symphony orchestra sections) but the writing has its own, modern imprints.
  9. It would be more than enough to get at least a few cues with musical form and structure. And Britell is more than able to develop his own thematic material. If they let him is another matter.
  10. That train has left the station a long time ago, it's just that some fans didn't get the memo.
  11. This tale of woe about WB sums this up rather (un)well: https://www.lukaskendall.com/post/the-dumbest-thing-i-hated-producing-cds-warner-bros-art-licenses
  12. North's score for John Huston's last movie, 'The Dead', is also a very good 'quiet' score. As for him being underrated: there's a reason Spielberg recommended North to his friends Robbins/Barwood for 'Dragonslayer' but he himself used JW, a big North admirer, and usually wanted him to be more Steiner than North. And Spielberg was right. North is too cerebral for regular audiences, even if he did catchy things occasionally. Interesting trivia: WB studio chief Jack Warner was a big fan, which was surprising, because Warner was a Steiner and Korngold kind of guy. When Mike Nichols did 'Who's Afraid of Virginia Woolf', he wanted André Previn (a personal friend). Warner let Nichols run pretty much his own show on this movie, but there he put his foot down and told Nichols to 'get the fuck off my lot' and barred him from editing and scoring, which as ultimately done by North.
  13. Wallfish technically *could*, but this is another waivable adagio light score with a bit of asian pseudo exoticisms mixed in. It remains a very muted year, maybe appropriately so...
  14. Me and some schoolmates had this pact that we would finish the saga together in a cinema, come what may. I remember it was a rather cold December night and all of us assembled in a Berlin multiplex being completely in agreement before the movie started that our engagement level was as low as the temperature. The movie was pretty bad, yes, but also weightlessly inoffensive and it rushed by in a breeze. I remember that i was weighing the thought that Disney found a secret tech formula by which they could feed all the silly lore, actor avatars and Williams' music sheets into a computer system, pressed a key and out came The Rise of Skywalker. Then i asked myself what would happen if they shuffled the elements around a little, or changed a certain variable - could they just press the key again and again? Then i watched three episodes of 'Obi Wan' and found my theory validated.
  15. Be that as it may, it's a second-hand info that has got nothing to do with J.K. Rowling not liking the JW score because the music didn't sound English enough.
  16. There was a claim that she somehow didn't want Williams' children suite released in connection to the first movie, though the reasons for that never came out. More didn't happen.
  17. RIP. His name for me was really synonymous with everything that came out of Hollywood studios from the 70's onwards. Almost 700 credits here, and this is probably not complete: https://www.discogs.com/artist/305375-Mike-Lang?sort=year%2Casc&limit=500&type=Credits&filter_anv=0&page=1
  18. All releases of Red Sonja sounded terrible. Thumbs up Quartet!
  19. It's the Siegfried motif, actually (Crimson Tide fondly remembers it, too;):
  20. Someone at FSM claimed it could be 'The Reivers' (Williams/Schifrin). That would be a nice release.
  21. The whole end credits are a substantial upgrade in concept and execution. I cannot really compare the scores fairly, because for years Predator 2 was the only one available, but the firs tone seems more like a training exercise for part 2.
  22. And Peyton Place *was* written in 1957. I always took that as a kind of amusing personality quirk of Horner, to build this raw reality around him, and with knowledge of the autistic disorder, it's not too surprising. In the old FSM days it was characterized as dishonesty, but it was anything but. I also think, in hindsight he was absolutely right about the shrug regarding his classical borrowings, nowadays you'd think at least someone keeps the candle burning instead of burning him at stake. But i also think that by the time of his death, his style had become so repetitive, it was like a rut he couldn't get out of anymore, so there were obviously limits to his modes of expression. With 'Willow' now i'm in complete satisfaction with my Horner collection. Nothing more is needed.
  23. To each his own. I know my Horner well enough so i could cite numerous examples where he stressed, without being particularly challenged to do so, how he avoids schmaltzy, overwrought, Hollywood-ian melodrama and i'm not deaf enough not to realize that Horner was an epitome of exactly that kind of scoring (take your pick, there are enough contenders until he was rather unceremoniously dumped by Ron Howard for 'The Missing'). Don't get me wrong, i absolutely love some of those, the split strings, the bombastic swells etc., but when a guy tells me, with a straight face, that 'Legends' or 'Perfect Storm' are 'restrained' because of harmonic or chordal choices i ask myself what would (or indeed, could) be the opposite of restraint, then...?
  24. Two of my favourite sixties thriller scores again, both composers using instruments in a chamber setting in unsettling registers (Mancini: detuned piano, Barry: alto flutes). The films are also two fine examples of the genre.
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