gkgyver

Here's the usual passive aggressive "sniff sniff it's an OPINIOOOON" snowflake bullshit. Nobody calls it trash because they don't like it. They don't like it because it's trash. There's a shitload of objectively brilliant music quite a lot people don't like, and there's a metric fuckton of farts pressed on CD that sell like hot cakes. What does it matter? It matters because if enough spineless drones are content with whatever retreated trash they are presented, it will become the gold standard, and therefore musically uneducated with the proper equipment, and only out to make a name for themselves, will flood the industry, at which point there will be no return. This hours long masterclass in modern film music block building bullshittery is noisy, mundane, lacking poignancy entirely, and harmonically excruciating. The only thing lacking now is someone daring to claim Junk didn't produce this sound on purpose, and would be so much better "if only given the chance".

Sounds like a tone deaf amateur with Junkie XL Brass tries to record Godzilla's theme by ear in one take, and is hitting all the wrong notes and meters. Then loses interest and accidentally keeps the backing loop playing. Generally, these RC numbskulls don't bother incorporating classic themes into their lazy scores, but this time, we have the dubious honor of being able to point to a direct comparison, and for future reference point to this dreck, as a class A example how this generation of composer wannabes has no sense for making a theme unique. It's almost surgical precision with which Junk castrated this theme into a dynamicless array of notes. What's with these fuckers' obsession for drums? Who gives a fuck? Drums, more drums, drum circles, drum orchestras, giant drums, synth drums - drums and horns, that's all these musically challenged fruitcakes can handle apparently.

If he loses a toe, his debt for this trash might be paid.

Propaganda. You're welcome.

Well, good for America! Oh say can you see...?

Deliberate substance will win over hot-headed style. Always. Peace.

I don't give a fuck. All movies I want I have, the rest is forgettable.

God bless if you can talk yourself into believing a 2008 Hans Zimmer score is different from a 2020 Hans Zimmer score.

The flood of superhero movies makes them mush together into irrelevant white noise.

I heartily disagree.

It's awful when they turn opera arias into pop songs and call it classical. I almost drowned in reverb when I listened to a Paul Potts album.

Feel free to post a piece. I suggest „Pathetique for JPEG and Viola“.

Fascinating how petty some JWfan people are.

He's one of those guys the pleb proudly refers to when you say you listen to classical music, and they reply "Yes, me too".

I decided to post this is the funny videos thread because look at his wild hair:

Nah. Arnold included electronics everywhere where there was no zoom zoom editing. Laser Fight, Hovercraft Chase, for example, and Gustav Graves Gravitational Grand Entrance didn't have such editing either. Plus, Arnold gave an interview around the time the film came out, and said how tiring it was to write like that, because you're essentially writing one piece multiple times. He wouldn't have done that, if he truly believed he'd be better without.

I disagree. Arnold saw Die Another Day exactly for what it was, a horribly over the top Bond pastiche. A dramatic approach like the predecessor TWINE would never have worked, so he went all out with the over the top cheekiness, the electronics, and the choir. This never was meant to be taken that serious. David Arnold doesn't get enough credit for changing the tone of the music for the change to Daniel Craig. Thomas Newman's scoring was just spineless. He didn't have the balls to stand out like you need to in a Bond movie.

shit.mp4 Really?

Wow you have issues.

As coincidence would have it, the film was running on TV today. Again, what an overdramatized piece of crap. Everyone's so out of character it's laughable. As subtle as a bullet to the head. The final scene makes it even worse, when Poirot is told there already was a death on the Nile. So not only is the Orient Express movie a letdown, the movie finishes by telling you the next one will be way off the novel.

What's the fucking difference? Zimmer or Mazzarro or Mazzimmer or Zimzarro, the result will sound the absolute same, with a few guitar solos thrown in. Like in the awkward gunbarrel.

A commercial has a better main theme than the actual movies.

Miles better than anything in the last two Newman scores. Far and beyond anything in those, and better than the entirety of Zimmer's. I'm completely serious. And fuck off with "you haven't heard it yet".

Did he record that through a soda can? Add just 2 more french horns and it sounds like a vuvuzela.

Is that her? Doesn't look like her.