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Thor, i know more than a few outside-Hollywood movies and i know that even if from this day on no movie ever would have a score at all, you still would compulsively insist that there never was a better period for film music, it's just your nature.
What i think should be made clearer,especially in light of whom this messageboard is dedicated to, is that a lot of people think of film music as a way of vivid storytelling. And you can twist and turn, this isn't how music by and large functions today in film, and not only Hollywood, since a lot of non-HW-filmmakers of course are influenced by that, too. Of course there are bright spots and brilliant applications of music to picture, but that is really not the norm and also shouldn't include great song scores (we just as well might include cricket chirping then).
So in essence, i don't dislike a score like GIRL WITH A DRAGON TATTOO per se, i like quite a few Martinez or Mansell scores (recently: STOKER!) but i also see that they often don't function as great storytelling but more as loose moodsetters that often are rather vague in what they are conveying. This isn't to say they are bad or good, only that they are not able to direct my interest as the best Herrmann/Williams/Goldsmith-etc. scores could do. And that, for me is a fact that can be objectively proven. And those examples are still miles better than a lot - read. not all - factory-assembled RCP clone scores that range from GAME OF THRONES to the recent ENDER'S GAME.

A slight unease for me is to call all this MUSIC in capitals, now we talk about music production and act as if one of those typical 130-minute RCP scores is essentially the same as a huge Rózsa score just assembled a wee bit differently. May we at least say that whatever Zimmer and cohorts produce, it is not always and doesn't act always MUSIC per se, but in a lot of cases, sound design - as per the wish of the actual producers.
That's where my tummyache regarding 'revolutionary' comes in: if i take the genre of film music really as a MUSICAL genre, i don't know if that indeed was in any way revolutionized by modern aesthetics. A lot of it barely can be called music and isn't called up to be such (Horner complained in Vienna how composers now aren't even considered artists but technical personnel like ADR recordists and such).

Thor, i know more than a few outside-Hollywood movies and i know that even if from this day on no movie ever would have a score at all, you still would compulsively insist that there never was a better period for film music, it's just your nature.
What i think should be made clearer,especially in light of whom this messageboard is dedicated to, is that a lot of people think of film music as a way of vivid storytelling. And you can twist and turn, this isn't how music by and large functions today in film, and not only Hollywood, since a lot of non-HW-filmmakers of course are influenced by that, too. Of course there are bright spots and brilliant applications of music to picture, but that is really not the norm and also shouldn't include great song scores (we just as well might include cricket chirping then).
So in essence, i don't dislike a score like GIRL WITH A DRAGON TATTOO per se, i like quite a few Martinez or Mansell scores (recently: STOKER!) but i also see that they often don't function as great storytelling but more as loose moodsetters that often are rather vague in what they are conveying. This isn't to say they are bad or good, only that they are not able to direct my interest as the best Herrmann/Williams/Goldsmith-etc. scores could do. And that, for me is a fact that can be objectively proven. And those examples are still miles better than a lot - read. not all - factory-assembled RCP clone scores that range from GAME OF THRONES to the recent ENDER'S GAME.

A slight unease for me is to call all this MUSIC in capitals, now we talk about music production and act as if one of those typical 130-minute RCP scores is essentially the same as a huge Rózsa score just assembled a wee bit differently. May we at least say that whatever Zimmer and cohorts produce, it is not always and doesn't act always MUSIC per se, but in a lot of cases, sound design - as per the wish of the actual producers.
That's where my tummyache regarding 'revolutionary' comes in: if i take the genre of film music really as a MUSICAL genre, i don't know if that indeed was in any way revolutionized by modern aesthetics. A lot of it barely can be called music and isn't called up to be such (Horner complained in Vienna how composers now aren't even considered artists but technical personnel like ADR recordists and such).

Thor, i know more than a few outside-Hollywood movies and i know that even if from this day on no movie ever would have a score at all, you still would compulsively insist that there never was a better period for film music, it's just your nature.
What i think should be made clearer,especially in light of whom this messageboard is dedicated to, is that a lot of people think of film music as a way of vivid storytelling. And you can twist and turn, this isn't how music by and large functions today in film, and not only Hollywood, since a lot of non-HW-filmmakers of course are influenced by that, too. Of course there are bright spots and brilliant applications of music to picture, but that is really not the norm and also shouldn't include great song scores (we just as well might include cricket chirping then).
So in essence, i don't dislike a score like GIRL WITH A DRAGON TATTOO per se, i like quite a few Martinez or Mansell scores (recently: STOKER!) but i also see that they often don't function as great storytelling but more as loose moodsetters that often are rather vague in what they are conveying. This isn't to say they are bad or good, only that they are not able to direct my interest as the best Herrmann/Williams/Goldsmith-etc. scores could do. And that, for me is a fact that can be objectively proven. And those examples are still miles better than a lot - read. not all - factory-assembled RCP clone scores that range from GAME OF THRONES to the recent ENDER'S GAME.

A slight unease for me is to call all this MUSIC in capitals, now we talk about music production and act as if one of those typical 130-minute RCP scores is essentially the same as a huge Rózsa score just assembled a wee bit differently. May we at least say that whatever Zimmer and cohorts produce, it is not always and doesn't act always MUSIC per se, but in a lot of cases, sound design - as per the wish of the actual producers.
That's where my tummyache regarding 'revolutionary' comes in: if i take the genre of film music really as a MUSICAL genre, i don't know if that indeed was in any way revolutionized by modern aesthetics. A lot of it barely can be called music and isn't called up to be such (Horner complained in Vienna how composers now aren't even considered artists but technical personnel like ADR recordists and such).

A slight unease for me is to call all this MUSIC in capitals, now we talk about music production and act as if one of those typical 130-minute RCP scores is essentially the same as a huge Rózsa score just assembled a wee bit differently. May we at least say that whatever Zimmer and cohorts produce, it is not always and doesn't act always MUSIC per se, but in a lot of cases, sound design - as per the wish of the actual producers.
That's where my tummyache regarding 'revolutionary' comes in: if i take the genre of film music really as a MUSICAL genre, i don't know if that indeed was in any way revolutionized by modern aesthetics. A lot of it barely can be called music and isn't called up to be such (Horner complained in Vienna how composers now aren't even considered artists but technical personnel like ADR recordists and such).

Don't we all?

Don't we all?

It sounds like it's recorded in a very bassy closed cucumber jar. I'm certain it's a mastering problem, around that time alot of Williams recordings, i. e. 7 YEARS IN TIBET or THE PATRIOT were plagued by this overbassed but strangely distant sound, none more so than A. I.

(not a score)
Breton dance performed by Galician musician Carlos Núñez.
http://www.youtube.com/watch?v=76WwmDoQBnY
Basque song by Benito Lertxundi

Parkland by James Newton Howard

It took me almost two years to get this out of my head an into my computer, but I've finally managed to assemble a little concert arrangement based on Tintin's theme:
http://soundcloud.com/chrisafonso/tintins-theme-arrangement
It mostly consists of Williams' original theme and secondary "sneaking" theme, which I extended a bit. And to make King Mark happy, I applied a bit of a Raiders March feel to the beginning.
It's relatively short, unlike the more fleshed out suites Homeboy and especially Skystalker already created, but I hope it's enjoyable nonetheless

I drove 60 miles to see this in IMAX 3D. And it was worth every single cent. The technical execution was absolutely brilliant, the effects were seamless and having the image fill up almost your entire field of vision in 3D (especially in the first person views) made for some buttclenchingly tense moments during the action sequences. Space seemed very scary in IMAX 3D

ENDURING LOVE: Jeremy Sams
Be surprised that a new filmscore obviously got away with a dedicated Vaughan-Williams homage that even soars into concertant heights in PASSACAGLIA that have been long absent form filmscoredom. Fans of the sweet and delicate IRIS (Horner) or even ANGELA'S ASHES and such might find something to like in this album, though i never even have heard of Jeremy Sams (an oversight that will no be corrected). It's on Spotify.

Danger motif for the Capulets!

I love the fun Galician overtones of this. I wonder if it's based on some folk melody from there.

Anyway at its core Gravity is an exceedingly simple and lean thriller set in space, with a dose of human spirit. The entire film is made up of setpieces, and there's nothing that suggests the ambition of, say, 2001: ASO. It's a superbly tense and technically marvelous thriller. That's it.
I do think the praise being heaped on it at the moment is a bit much though, as good as it is. I'm also doubtful that movies in the near future will try to mimic the camerawork here.

I miss a bit of intrusion. Everything today is so boringly understated.

Is there literally nothing you'll give quarter to if it isn't sumptuously or bombastically orchestrated and played by a fucking symphony orchestra?

Now quickly watch season 4!
From wikipedia:
And you know what? It's true.
Alex

The Wire: Season 3 finale. Sheer awesomeness. There is a great feeling of closure in the season finales of this show because they are actually closing cases whether succesful or not, but here perhaps more than in the previous seasons there is a sense of coming full circle as they tie quite a few story threads together.

But that's the point: in the 50's, a Waxman score like NUN'S STORY or TARAS BULBA may have been drawn from the classical idioms, but both were fresh and new scores and not just an inferior copy. Same goes for our beloved Silver Age: scores like E. T. or FIRST BLOOD, to quote a watershed year, took inspiration from Hanson, Bartok, Stravinsky, Herrmann et al., but they still added something to the mix that wasn't there before and enriched film art by showing us how homogenous film and music can interact.
I really don't feel the urge to compare that to the way movies are scored today: again, it works on a low musical level and it's hardly worth to listen to all those 74-minute releases of scores that just don't do much that makes musical sense, or worse, subject me to uninspired TRANSFORMERS-like simple chord motions for the 1000st time.