publicist

Love JNH for several reasons, though i also admit that his pragmatic approach to his employers' laundry list of bad suggestions not always makes for the most compelling music (not FILM music).
 
First of all, he's the only one today carrying the Goldsmith torch of a strong, to-the-point theme augmented by short characteristic motifs in an orchestral/synth framework and he does it with style and like Goldsmith for every genre imaginable (like in JG's later career phase, that automatically leads to a good number of merely functionable scores, but that's the nature of the beast).
 
Secondly, i love the understated elegance in a lot of his themes - think King Kong's emotional material, and under which conditions it was conceived.
 
And his recent concert works are proof that he's really a very capable, accomplished composer, whom i wish better assignments than the many lame CGI spectacles he has to labour over in recent times. 

Anybody else watch Euphoria?
 
It's messy, soapy/campy, self-indulgent and super stylized with some cool moments, but the last season finale featured Williams' The Fury. Was a fun musical cameo.

Not even themes, but whole building blocks that are inserted again and again. But if you trim the most egregious repetitions, you end up with one of the most entertaining sledgehammer action scores of the 2000's.

The Britten...

Not even themes, but whole building blocks that are inserted again and again. But if you trim the most egregious repetitions, you end up with one of the most entertaining sledgehammer action scores of the 2000's.

Hero worship is unforgiving. 
 
I laugh my ass off when outraged fans claim they purge all that stuff from their collections for a lack of `purity`. I mean, why? When you like the music?

Hero worship is unforgiving. 
 
I laugh my ass off when outraged fans claim they purge all that stuff from their collections for a lack of `purity`. I mean, why? When you like the music?

Hero worship is unforgiving. 
 
I laugh my ass off when outraged fans claim they purge all that stuff from their collections for a lack of `purity`. I mean, why? When you like the music?

Michaelangelo still designed the whole thing in detail.... similar to a Williams sketch being given to an orchestrator who is essentially just a copyist.
 
Funny you should say that because I have been curious about that for a long time. Obviously the older musicians in the recording orchestra have done literally too many scores to count, most of them sounding the same. But obviously there are some people in there that are really into the music (liked Richard Kaufman), and others who are literally there for a gig. And its funny because there are a ton of musicians like that. JW himself does the same thing. "Classical" music seems to have a much more throw away or quickly forgotten culture than any of the other genres, except for corporate produced pop. I mean look at some orchestras and conductors that record the same pieces for the 100th time, and then sometimes re-record them. Even Yo-Yo Ma recorded the Bach suites what.... three times? Most of the time if you ask an orchestra member, conductor or soloist "oh I loved this recording of such and such" they will kind of vaguely remember it most of the time.

I often wonder what some composers are thinking when they write stuff, although in order to keep making money, they probably don't have time to even think about it. They finish one project and immediately start another, with no overlap if they're lucky. I'm sure that eventually just becomes a habit to forget what you just did and move on.
Maybe slightly off topic, but that reminds me of the big issues Goldsmith had on Alien. I mean, I personally don't know why they would bother hiring a composer if they are just going to keep a few cues and then LEAVE IN the temp cues, which were all taken from other films, including other Goldsmith films.
 
https://www.youtube.com/watch?v=U8bv0QDLI7M
Maybe slightly off topic, but that reminds me of the big issues Goldsmith had on Alien. I mean, I personally don't know why they would bother hiring a composer if they are just going to keep a few cues and then LEAVE IN the temp cues, which were all taken from other films, including other Goldsmith films.
 
https://www.youtube.com/watch?v=U8bv0QDLI7M
 
 
I also pulled out Andre's book with the passaged I mentioned above:
 

Calling the MIG attack cue in Air Force One and Battle for the Castle from Last Castle, which are so obviously not Goldsmith even though they had access to all his core material.

'John' wasn't a rare case, he was using orchestrators as part-and-parcel of his composition process from his humble beginnings like everyone else back then did. Only Herrmann (and Morricone, but he doesn't really count) refused them. It's just a matter of schedules and speed. And let's make no mistake, writing in short-hand, establishing a working relationship to another guy who comes in and can translate your particell into a full-blown score is quite a chore in itself.

Lyrical and expressive animation score by the Danna brothers, blending eastern instruments with western orchestrations and occasional romantic flourishes that give it scope, at least punctually. 

Why do bizarre names like Picasso or Da Vinci always turn up in topics like this? We are talking about Hans Zimmer, Bear McCreary or Brian Tyler and their slaves here, for christ sake, not sacred legends of the musical artform.

Let me phrase it this way: whenever there's one of those non-descript 9-minute noisy action cues turns up on scores like 'Huntsman', i don't particularly care if JNH or someone else did it. I don't want to listen to it either way. 
 
So this whole outrage seems a bit misdirected, it's not like there's loads of brilliant musical stuff credited to the wrong guy. It's more about denying your subordinates proper wages.

Far behind Under Fire. Though better than the other three.

Let's hope for Willow, finally.

Let's hope for Willow, finally.

Tbh, my real favourite cues were written long before the era of Netflix, so...

He was slaughtered for it ca. 5 million times here and on FSM, so cut him some slack here. We also don't need to single out old Newman or all the other ancient examples that are of a completely different nature - during the old studio system, highly accomplished composers/arrangers helped out their likewise supremely gifted bosses (like Newman), whose job it was to delegate the musical chores of movies or cues within scores to others to get the job done in time. There was no secret about it.
 
As for Horner, during a short phase of his career, ca. 1991 - 1995, he overbooked himself to the extent that he farmed out stuff he didn't care for to highly accomplished composers/arrangers like himself. And of course, with Horner the problem of not giving credit went far beyond not crediting Davis or Pasatieri, he neither did for Britten nor Prokoviev. Crediting just wasn't his. thing, i guess.

Damage control.

What's more depressing to me is that 99% of it is so bland and devoid of character that i don't even look who's credited. 
 
One of the few good things in 2021 was Greenwood's Power of the Dog, even if it's not exactly easy listening, and guess what? He probably wrote it all by himself and you know just by listening to it. 
 
 

Why do bizarre names like Picasso or Da Vinci always turn up in topics like this? We are talking about Hans Zimmer, Bear McCreary or Brian Tyler and their slaves here, for christ sake, not sacred legends of the musical artform.