gkgyver

The sudden surge of Viagra ads on this site when the 60 second samples became public suggests that DoS lacks not only gravitas, but also a good dose of Remote Control masculinity.

The superlative compliment for DoS would be "just like LotR".

Yes, I would recognise those bassoon lines anywhere.

I'm sure the ideas going into Kong influenced other works of his. I can't imagine that a composer is able to just put all of that hard work aside.
Imagine, maybe what we call Smaug's theme was originally a theme for the T-Rex fight
I don't know how the copyright situation is on Kong, but I assume it won't be easy getting the rights, and not very cheap either.

Finished season 8. I found the season constantly very touching. One of the X-Files' strongest. It also had marvellous music by Mark Snow, particularly the theme for Mulder's and Scully's relationship.

If a composer orchestrates a certain way, then it's not because he can't do it differently, it's because he doesn't want to do it any other way unless he is required to.
Shore talks about orchestrations frequently I think, and his point is something that pertains to all composers who orchestrate their own work; it's a matter of your own inner musical voice. You orchestrate in the way that feels and sounds right to you. And why not? Why would you suddenly tamper with your voice if it doesn't feel right for you? Once you do that, I think it's very easy to lose your musical instinct because you're dealing with something you're not used to.
And I don't think a film composer, where time is usually short (unless your name is John Williams), can afford that.

You can catch the first glimpse of the clavicord at the very end of Thrice Welcome, even though it's basically just a blop in the audio. It will be interesting to hear how it's used.

You can catch the first glimpse of the clavicord at the very end of Thrice Welcome, even though it's basically just a blop in the audio. It will be interesting to hear how it's used.

Beyond The Forest gives me exactly the same kind of shivers the best moments from LotR did. I'm so happy.

Beyond The Forest gives me exactly the same kind of shivers the best moments from LotR did. I'm so happy.

Beyond The Forest gives me exactly the same kind of shivers the best moments from LotR did. I'm so happy.

Beyond The Forest gives me exactly the same kind of shivers the best moments from LotR did. I'm so happy.

Beyond The Forest gives me exactly the same kind of shivers the best moments from LotR did. I'm so happy.

The bad feeling I have about this movie is epic.

Zimmer's genius is neither. His genius is in self-portrayal and marketing.
His orchestrations don't make things sound better, they show the same rudimentary understanding of music as his compositions, and therefor go hand in hand to produce the blandness we know.
His orchestrations are exactly what his compositions deserve.

No.
Spider-Man beats the hell out of Amazing Spider-Man. TASM had a story that was a constructed piece of trash. Still better than SM3 though.

If it wasn't Shore's, we would moan about the use of source music.

Over-produced? How so? Too much melody? Too much orchestra? Too memorable? Too much effort made?
How someone can rank this Sheeran garbage over any LotR song ... It may be "catchy", but so is my alarm clock.

Over-produced? How so? Too much melody? Too much orchestra? Too memorable? Too much effort made?
How someone can rank this Sheeran garbage over any LotR song ... It may be "catchy", but so is my alarm clock.

After the fabulous success of LotR and its impact on pop culture, making the Hobbit was anything but a risk. Certainly not financially. The films were always going to be successful, unless PJ delivered a film completely, utterly awful. And there was never a chance of that; for that, PJ is just too good a filmmaker.
And, as far as I know, many Tolkien fans (except the purists) were largely pleased with LotR, and would go to see the Hobbit.
AUJ could never have been anything but a great success at the box office. And even if it did so bad artistically to scare the Tolkien fans away, it will always remain a great, shiny action adventure escapade for the masses.
In short, financial failure of these films was never a possibility, therefor it wasn't a great risk. Now, filming 3 mammoth epics back to back, based on a book deemed unfilmable, as a second grade horror flick director, with an unknown effects company, not knowing if the first one would be successful, now THAT is a risk.

After the fabulous success of LotR and its impact on pop culture, making the Hobbit was anything but a risk. Certainly not financially. The films were always going to be successful, unless PJ delivered a film completely, utterly awful. And there was never a chance of that; for that, PJ is just too good a filmmaker.
And, as far as I know, many Tolkien fans (except the purists) were largely pleased with LotR, and would go to see the Hobbit.
AUJ could never have been anything but a great success at the box office. And even if it did so bad artistically to scare the Tolkien fans away, it will always remain a great, shiny action adventure escapade for the masses.
In short, financial failure of these films was never a possibility, therefor it wasn't a great risk. Now, filming 3 mammoth epics back to back, based on a book deemed unfilmable, as a second grade horror flick director, with an unknown effects company, not knowing if the first one would be successful, now THAT is a risk.

After the fabulous success of LotR and its impact on pop culture, making the Hobbit was anything but a risk. Certainly not financially. The films were always going to be successful, unless PJ delivered a film completely, utterly awful. And there was never a chance of that; for that, PJ is just too good a filmmaker.
And, as far as I know, many Tolkien fans (except the purists) were largely pleased with LotR, and would go to see the Hobbit.
AUJ could never have been anything but a great success at the box office. And even if it did so bad artistically to scare the Tolkien fans away, it will always remain a great, shiny action adventure escapade for the masses.
In short, financial failure of these films was never a possibility, therefor it wasn't a great risk. Now, filming 3 mammoth epics back to back, based on a book deemed unfilmable, as a second grade horror flick director, with an unknown effects company, not knowing if the first one would be successful, now THAT is a risk.

Audiences are influenced by skilful film music, whether they realise it or not. Evidently.

Audiences are influenced by skilful film music, whether they realise it or not. Evidently.

Who needs samples? Bring me the precious ... gkgyver will have his prize, they will deliver it!
Oh and yes, who wouldn't want original title music?
IMO the opening scene of Two Towers is one of THE textbook examples of why film music is so important for the film's connection with the audience. It conveys everything what the film is like, and it tells you "this is going to be worthwhile".