Mooz0r

A Jurassic Pharp.

Did Williams arrange that music for the 2002 Academy Awards? It's brilliant.

I bet they didn't even ask Davis! lol EDIT: And yes, it's a bad edit . lol

Good Trailer, Looking forward to the score! But... Lets get down to business *puts on specs* Skip to around the middle of the trailer, after the line "What's happened to you?", where the black stuff consumes Spiderman's hand, listen to the music. Now listen to 01:58 on "The Hotel Ambush" from The Matrix Score... It's a direct rip!!! lol , You can even hear the following anvil and percussive stuff after the brassy crescendo!!

I can actually hear something at 2:33, on the beat, slightly panned to the right.. Almost sounds like someone sneezing lol.. Or it could just be rattling snares, or even perhaps the harsh sound from the violas of friction between the bow and the strings (Jurassic Park has a very unique recording sound, particularly in the strings, in my opinion - the strings sound particularly bright, but this friction sound is picked up as a side-effect)

What a horrible piano Is he writing music? At the end he seems to quickly reiterate that melody before going quickly to the table to writing something. I don't know much of Prokofiev's music so I don't know if this is his own work or not.

Open Your Mind... The Mutant - Jerry Goldsmith

I concur. Decent effort with a few missteps which has been trampled to death by JW fanboys - there are other good composers than Williams around guys, and to stick just to Williams like glue is very closed-minded IMO. I'm very open-minded about composers that I like - so much so that I've sometimes questioned to myself if certain composers are more talented than Williams. However, GoF still remains a pile of steaming uninspired poop.

What part of orchestral don't you understand?

I think it's also down to his persistent varying orchestrations on a theme throughout the film, and also the way he persistently repeats the theme and its variations throught the film, seems to almost "drill" it into our heads (Take HPSS for example). Also, I think he just has such brilliant skills with orchestration and instrumentation that it makes the music so generally attractive and appealing to the audience's ear. So in a sense, the audience almost wants to hear and listen to the music anyway, subconciously, which helps it become more memorable, naturally. How about this: Williams is a brilliant man, and clearly he's immensely knowledgeful in music. But, at the same time he's only human, and thus when writing music, he is being affected by what he's heard from other composers, subconsciouslly. Also, I think that Williams' themes are always extremely interesting and appealing harmonically, which almost adds a sense of sophistication, and interest to the usually simplistic melody of theme.

How unfortunate for you

Well , I think this score is one of Williams best. And I still think that Zam the Assasin / Chase through Courscant is one of the best action cues Williams has ever written. The Across the Stars theme is beautiful, and very memorable. This is one of my favourite Williams scores, and I cannot understand at all why there are certain people on this board who claim to detest the score so much (except for Joeinar who is just clearly seeking attention )

TOTAL RECALL I love that score.. ^^

I don't think some of you guys are truly giving Don Davis the praise he deserves. In my opinion, the music for The Matrix trilogy is the most innovative score since Williams' Star Wars. What Davis has done is so amazingly breathtakingly fresh, and exciting, and just heart pounding to listen to.. Don Davis just "gets it"... he has a bunch of ideas in his head, he knows how to write them down and he always gets it perfect. He's an amazing orchestrator as well as a genius composer. Whenever I listen to his music I just think "How the hell could any human being ever possibly come up with anything remotely this inconcievably amazing!?"... In my opinion, he is just a damn genius, and depressingly under-rated, or rather unrecognised. I think that he is hollywood's second best composer after Williams, and I realise that is a VERY bold statement given the fact that he's composed so little for film. Just listen to the last 30 minutes of The Matrix - Ontological Shock, Subway Fight, and all the cues from here to the end of the film. Those flying woodwinds, exciting pacing eccentric brass rhythms, frantic scalic string passages, dissonant horns, all of it.. It really makes me tingle and it's just so amazing, like nothing I've ever heard before. And from Reloaded - cues like the Main Titles, Truck vs Truck, the orchestral parts of Burly Brawl (and the alternate cue), and all of these sorts of things are just incredible. I'm sure that any intelligent, broad minded (AKA non-snobbish) musician who listens to and thinks about these cues will realise the un-deniable genius involved in conceiving and writing such brilliant music. And I'm sure there will be some of you who don't appreciate him, and I'm also pretty sure that those people haven't given him a chance. Just sit down, and listen to the score. Don't be snobbish and don't be put off by the techno stuff. Listen, and think - and if you don't recognise the genius, well then quite frankly you're a retard (or deaf)

Hide and Seek I just saw this film yesterday, and I have to say that John Polson did an amazing job in directing this film. Some of the ideas behind filming especially in terms of use of camera were really really impressive! The score by John Ottman was also (suprinsgly) very good in my opinion. It's the first score by Ottman that I've really been impressed by. Of course, Dakota Fanning's acting was as amazing as ever.. Go see this film if you haven't already!!

Darn it all to heck! *slams door* Meh, I just hope the score is better than Doyle's.

I hope he was talking about Zimmer etc., and not other stylistically modern composers like Marco Beltrami or Don Davis.

Looks pretty good. I thought the usage of Williams' music was pretty good.

Let's just say they don't call him "John" Williams for nothing... I wonder what he'd do if he finds out there's no more toilet paper, and all he has with him is some music sheets. He'd inadvertantly create a Zimmer score! LMAO! I knew that was coming

It's funny... A lot of the time I just can't NOT give scores my undivided attention. I just feel uncomfortable having film music playing while doing other things, it's almost like I feel I'm missing out. So I give scores my undevided attention quite a lot

Tony, Composer_Fan, and Bowie These pieces are all amazing! .. Composer_Fan, your piano writing is brilliant and the saxophone part was pretty brilliant too! And might I say, I hear a little Williams influence in places (CMIYC in particular). Maybe that's just me though Tony, your string piece is just beautiful, beautiful harmonies, and harmony progressions. Really REALLY well written and very satisfying and warming to listen to. Bowie, your piece shows some really great orchestration skills, In my opinion. And I can't get that quiry scherzo-ish passage out of my head! lol *hums* Really Diverse and well pulled off. It's nice that it's possible for you to not spend 60 hours programming sequencers Here's a little something I've written recently: http://www.acidplanet.com/artist.asp?PID=784999&t=4206

Ooh, only just read this.. GOD I HOPE IT'S SUPERMAN!11! [/caps]

I pictured that quite well and I think it would be a million times more tacky than the NOOOO.. No offense

Listen to Molossus (Batman Begins) at 02:33... I have heard that string motif in film trailers, and Zimmer/MV scores about 50 times now (or so it seems).. The guy just seems lazy. Also, he clearly has a lot of money so why would he deliberately use synth orchestra?? o_O He's just generally a boring, uninspired, plain composer. And I think the main reason why he's hated is because a lot of "unenlightened" people (and even Directors such as Spielberg it seems) consider this bland composer comparable to (or in some cases better than) Williams which in my mind is insulting to composers like Williams with real talent.

Sampled Orchestras are nowhere near usable enough yet in Hollywood films, in my opinion. The human mind is able to differentiate between a sampled and real orchestra very well, and quickly. Even if most people are not sure what the difference is, their feelings would still be quite strongly affected at a subconscious level. I can't say exactly what this diffference is, but the sound of a sampled orchestra isn't nearly half as effective as the sound of a real orchestra. And of course, I am only talking about sound here, let alone the actual expressive playing techniques that real performers can produce, that a computer will never ever be able to produce. Any director who is even remotely aware of their sub-conscious thoughts and feelings would pick up on the "tackyness" of most elements of a sampled orchestra straight away. And just for the record, I don't use cheap samples, I use the some of highest quality sample libraries available to us currently - VSL, EWQL, Some Garritan, etc. I have spent years studying and experimenting with getting realistic results both from instruments and getting an acoustically real sound, and no matter what you do, today's technology just can't produce that sound and emotion that a real orchestra can. Not even close, to my mind.