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Everything posted by publicist

  1. Having watched the second episode (most of it, anyway) half-dead after a party night hangover i have to conclude: this was written and conceived by and for first graders, and not particular bright ones. The 'narrative threads' - if you want to call them that - are set up so transparently and often by deadening dialogue exposition that you can feel George's musty old directing fingerprints all over it, even if he doesn't seem to have anything to do with it.
  2. As much as anal-retentive collectors beg for every partial alternate of a 8-minute cue that has a different triangle run from 06:12 to 06:14, it makes most C&C editions really a seriously annoying thing.
  3. Didn't care to listen to the complete (and exhausting) score, but damn, i want that great call-to-action fanfare in a new Mattessino mix, not this dodgy shit on the Silva.
  4. No one else did these nostalgic suburbia themes better than Goldsmith and i like the score mainly for its numerous appearances.
  5. Kinda cheesy but great fun. Afair, not released on any of the numerous Olympia albums.
  6. I have to cut him some slack here, because Zimmer may have been co-responsible for introducing this kitchen sink style, but he himself shied away from it more often than not, or at least adding specifics that made it stand out. Case in point is i. e. the fourth or fifth (don't remember, blame me) Pirates score with all these flamenco pieces by Rodrigo y Gabriela.
  7. A shocking development. I remember the good old times when quiet unassuming entertainment people like Liz and Dick were all the rage.
  8. 'Matinee' is cute, with a few satiric standout moments. And no, unfortunately relentless-obsessive Goldsmith plugging isn't amply rewarded, or he could pay for all those Satan Bug etc. re-recordings that never happen himself.
  9. It's not about zany, but how it's uninspired and retreads roads more than well-travelled before. And you know how it is, Yavar, i just love to play counterweight to all your relentless promoting of often unworthy causes.
  10. See, that's the point. I don't care for Indy V, which will be more of the same for another dead franchise, but remain happy he's done with the Spielberg movie which looks more personal and hope he does more of these concerts in Europe (which seem to be a fountain of youth and joy for him) and maybe a few other things that hopefully are not franchise-related.
  11. Last time i checked i didn't give a fuck who likes it but stated my opinion and got the expected #angry #hurt reactions by those who accept every opinion, provided that it coincides with their own. So please let's get that straight first.
  12. Nah, it could’ve done with a bit more Burbs magic. That limp Gremlins 2 mayhem figure, the bumbling Goodman theme, the jazz stuff, somehow it all reeks of leftovers from better times.
  13. Why Williams bothers with this is beyond me. It’s a rather undistinguished piece of work and this time he can’t even make it work in a larger context because he’s obviously not scoring the series. Just let it go, man!
  14. The problem with Matinee is that it’s just too square. Don’t know if it was Beltrami or someone else who had a class with JG at the time and reported that Goldsmith let them score scenes from this movie. The guy came up with a tango for John Goodman and Goldsmith, upon hearing it, commented 'why, I should’ve thought of that‘. Which sums up the whole score. Serviceable, but there’s not one inspired note in it.
  15. Afair, Casper was recorded in LA January 1995 and Braveheart early spring in London, Apollo 13 directly after that in late spring back in LA. Balto.
  16. Believe me, the beloved orchestral Hollywood sound from the 80's and 90's has very little to do with Rózsa et al., in the early 90's the template became so common it was referred to as a specific orchestrator trademark, where every big orchestral McNeely, Arnold, Newton Howard, Debney etc. suddenly appeared to have fingerprints and crossovers that certainly weren't stylistic choices of the composer, but because they all (to a degree) used the same orchestrators. This has little use in the discussion at hand, though.
  17. Both, actually, i was thinking of a KL cover version on Sax, but yes... It really isn't, after many years of messageboard debates i can pinpoint exactly what it means, namely gold standard sound established in between Star Wars and Stargate, or better, ID4. Where harpsichords etc. are verboten!
  18. All is fair game, better than artistic (or indeed personal) standstill where everything has the same pasty Hollywood sound. That being said, the Kenny Loggins alto sax is hopeless, in and outside of film music. I think Dave Brubeck may have found a setting once where it was acceptable, but i'm not really sure.
  19. When Amistad is good, it's brilliant, when it's bad, it's really bad (JW sadly contributes more than his share to this, imho). Not more to be said. The Patriot, for the uninitiated, was one of those movies that heralded a new era (in retrospect it's already a very Trump-ian movie), posing as classic 'quality' film making, but being no more than a shallow historical comic book full of reductive characterizations.
  20. I've no interest in this release, but since this different mixing (the LP mix) was done by a guy named Len Engel, i will just give a word of caution: this guy sure has a bad track record, he did for instance the first release of 'The Final Conflict', which sounded like it was recorded off a tv set. So the difference might be bigger than you think.
  21. An ultra-patriotic 15-minute James Horner cue: this will make you either swoon or run for the hills. Having listened to it today made me appreciate its impeccable craftmanship more, though it's still aiding a somewhat questionable military ethos. Back in 1996 i found it draggy and boring. Zwick's low-key thriller hardly needs Horner (it's built like a detective story), so the only musically noteworthy cues on the album are either concert pieces or the big, bookending salvation cue linked above - solemn patriotism was the only angle Horner could musically exploit. It's not a great score, additionally burdened by the fact that he lifted large parts of the opening battle for 'Titanic', but the cues Hymn, The Elegy and Courage Under Fire (plus the finale) are surprisingly free of self-referencing and i just grew fond of them, in a way you like your old slippers. Also it obviously was the template on which JW based the Omaha beach cue in SPR. It is *very* similar to the 'Courage Under Fire' cue.
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