bruce marshall

Still can't believe they didn't use his wonderful ball room music in the film
Fantastic piece!

Justice League just doesn't want to work in live action. I'd prefer to see an animated film with the quality of Pixar than more failed attempts by inept and ill-suited directors.

I voted, because I assumed that this poll was about his music.
 
Don't forget to mention these awful giant pixelated memes that he seems to just photograph from a screen. Let alone the disturbing instances, when he is randomly quoting himself, in fact the post that he is posting at the very moment.

I mean, you guys don't actually get a laugh out of this, do you? 
 
I'd appreciate if the mods were so kind as to reprimand troll-like behavior such as this. And who the heck is this bruce marshall fellow, with 400 something posts in the last month and all of them read something like this:
 
 

Meh, it allows detractors to criticise a score when it suits them (i.e. they don't like a score). When it's a more revered score, or a composer they like, suddenly those concerns disappear.

No question about that, my point was that dumbed-down and pop-ish became the norm. Away with Goldenthal-ian complexities that for a short time before that were still accepted and Gladiator was the beginning of the end for that.

No, Titanic had, by and large, a traditional score, albeit with pop influences. Gladiator certainly didn't introduce the world music angle to film scores, but the combination of large narrative historical epic with this kind of deliberate pop approach without much of a narrative thread broke a spell. Now producers could have their wannabe-classical pastiches together with testosterone rock action pieces and world music laments and since all could exist side by side and nobody expected the composers to bridge them, a lot of old rules were broken down. It's why i never wanted Zimmer on stuff like that. 

Just a reminder...
 
2020 PODCAST AWARDS
 
I would love it if you could take 5 minutes to register and vote for CINEMATIC SOUND RADIO in the 2020 Podcast Awards.
 
We are eligible in 2 categories.
- MUSIC
- PEOPLE'S CHOICE
 
Go to https://podcastawards.com to register your vote for us! You have until July 31st to do so! Thanks in advance.
 
NEW SHOWS
 
FILMIC WITH LEY BRICKNELL - EPISODE 3
http://www.cinematicsound.net/filmic-with-ley-bricknell-episode-3/
 
On episode three of FILMIC here on CINEMATIC SOUND RADIO, host Ley Bricknell presents more new film and game soundtrack releases including Trolls World Tour (Shapiro), The Quarry (McIntosh), X4: Split Vendetta (Zakharov), Scoob (Holkenborg) and many more. Ley also shines the spotlight on composers Sid De La Cruz and Thomas Clay. You’ll also hear music from one of the most influential scores of the ’70s in the monthly ‘Vintage’ segment!
 
SOUNDTRACK ALLEY: PREMIERE EPISODE – INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL
http://www.cinematicsound.net/soundtrack-alley-premiere-episode-indiana-jones-and-the-kingdom-of-the-crystal-skull/
 
The long-running soundtrack podcast SOUNDTRACK ALLEY is now part of the CINEMATIC SOUND RADIO NETWORK.
 
The first episode is a discussion between myself and Randy Andrews about the film and score to INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL released in 2008.
 
INTERVIEW WITH PENKA KOUNEVA
http://www.cinematicsound.net/interview-with-penka-kouneva/
 
In June 2020, for the CINEMATIC SOUND RADIO NETWORK, Jason Drury spoke to Penka Kouneva via Zoom at her home in Los Angeles. During the show, they will talk about PANDORA, how Penka came to Hollywood under the wing of composer Patrick Williams and her work as an orchestrator and composer.
 
Also, during the show, you will be hearing more music from PANDORA and other projects featuring the music of Penka Kourneva.
 
THE ARCHIVE WITH JASON DRURY: EPISODE 23 – PART 2
http://www.cinematicsound.net/the-archive-with-jason-drury-episode-23-part-2/
 
On part two of episode 23 of THE ARCHIVE on the CINEMATIC SOUND RADIO NETWORK, host Jason Drury continues the music with selections from the Golden Globe-winning score to Ridley Scott’s GLADIATOR by Hans Zimmer and Lisa Gerrard. Notefornote Music’s newest release of REMO WILLIAMS: THE ADVENTURE BEGINS plays next with an original score by Craig Safan. An extended suite of music from Notefornote’s A BRIEF HISTORY OF TIME TRAVEL by Tracie Turnbell is featured before Jason ends the show is spectacular fashion with John Debney’s classic swashbuckling adventure score to CUTTHROAT ISLAND performed by the London Symphony Orchestra.
 
COMPOSER CONVERSATIONS WITH DAVID COSCINA – EPISODE 3: THEODORE SHAPIRO
http://www.cinematicsound.net/composer-conversations-with-david-coscina-episode-3-theodore-shapiro/
 
David Coscina chats with Theodore Shapiro about his most recent work, his approach and methodology to writing the score to 2018’s DESTROYER. Other topics include music technology, Shapiro’s compositional background and the impact of working from home during the pandemic.
 
Enjoy!
 
APPLE: https://apple.co/2YMYnMN
SPOTIFY: https://spoti.fi/3bG9MQT
 
Check out our NEW Cinematic Sound Radio TeePublic Store!
https://www.teepublic.com/stores/cinematic-sound-radio
 
Cinematic Sound Radio
Web: http://www.cinematicsound.net
Twitter: http://www.twitter.com/cinsoundradio
Facebook: http://www.facebook.com/cinematicsound
 
Cinematic Sound Radio Fanfare and Theme by David Coscina
https://soundcloud.com/user-970634922
 
 
Bumper voice artist: Tim Burden
http://www.timburden.com
 

Falstaff aka Chimes at Midnight
 
Orson Welles considered this play on a fictional Shakespeare character his personal favorite of all his films. Perhaps the most radical and groundbreaking of all Shakespeare adaptations, the low-budget dramedy has been brilliantly conceived technically (the camerawork and lightning, especially), and the harrowing war scenes have proven especially influential, cited in Branaghs Henry V as well as Mel Gibsons Braveheart.
 
The narrative takes its cues from 'Henry IV', 'Henry V.' and 'Richard II' The focus is on the boastful and hedonist John Falstaff, an overgrown child - Welles himself with evident pleasure - and on his friendship to Henry V, who prefers to spend time with Falstaff carousing rather than acting presidential. As the drama unfolds, Henry becomes king and, now taking his responsibilities seriously, turns away from his fun-loving old friend.
 
Welles himself mentioned disappointed friendship as the central theme of the film, but at the same time it is also about different father figures, about power and pleasure and how these worlds will clash - and its also about age and death (what begins as a fine, low comedy is slowly becoming a moving tragedy).
 
Welles' ingenious cinematic flair is always noticeable here in expressive close-ups, extreme camera perspectives or in the thunderstorm at the Battle of Shrewsbury. In this battle scene, brutality and horror can be drastically experienced in the clash of the stylized-but-realistic images, that are past any romanticization.
 
It's not a JWFan movie, for sure, but any movie that can make me endure Shakespearean prose - even embracing it - belongs to the ages. 
 
 

You are so right.
Hated...hated hated it!
The opening of the film was also weak, showing his pathetic family.
Also, after all Marty went thru to get back home, it's hard to believe he would get back in the Delorean with Lloyd to do more time travelling!
It's a good film bookeneded with bad stuff.
The music really elevates it!

TAKE that Tintacle!
😝😁

But I DID give him the CORRECT answer.
Did I not?
I could have pulled a ' Holko' and quoted Ennios complete tomography😡😵😠

I love James Horner and like listening to all his scores in complete form. Simple as that. 

Titus. What would I give to hear a score of such imagination and colour in a modern film. It is both refined and unashamedly kitschy.
 
Karol

X-Men 2
Stodgy and boring.  Brett Ratner was a godsend to this franchise

Without doubt my favourite Elfman. This badly needs a proper complete expansion. So many nice little unreleased moments. Whoever it was who thought that the additional material in the B/E box was all there was to add, does not know this score at all.

More Jerry listening...
 
Star Trek: The Motion Picture - Hard to argue that it's not one of his best scores, if not his single greatest achievement. Although like all things that approach perfection, I still assert that the opening credits would have been far more effective using the V'Ger music rather than his Star Trek theme. Indeed, imagine starting the credits with the descending four note blaster beam motif that opens the alternate version of The Force Field and the Vertigo-esque arpeggio figures over the credits leading into the Klingon Battle. Sure, his Star Trek theme is winning and always feels like the best summation of the Star Trek ethos in music (I always sigh inwardly whenever Giacchino's theme is used to signify Star Trek...), but the tone feels all wrong for the start of this particular movie (I'm sure it's what the producers/director wanted). For me it's too upbeat and adventurous. I suggested this as a "heretical view" on FSM and nobody agreed so I don't expect anyone here to agree!
 
Star Trek V: The Final Frontier - When almost everyone's grails have been released, this was one for me until the terrific espanded album came out. Still one of my favourite scores and certainly my favourite performance of Jerry's Star Trek theme. Whatever subtle orchestration changes he made between TMP and this (I don't know if anyone has sat down to figure them out?) adds just a bit more adventurous swagger to an already terrific theme and the coupling with the original Courage fanfare works gangbusters too. Indeed, the original TMP opening feels almost a bit clunky in comparison and the subtle synth swoop that helps join the two melodies together subtly enhances it for me, keeping the momentum going.
 
TFF also contains one of my favourite short, spine tingling moments in A Tall Ship. His glittering introduction of the Enterprise, while not the showstopper of the titular TMP track, is just terrific. Indeed, I have made the point elsewhere that he really scored the spectacle of this film (or how it would have looked with a huge budget rather than the iffy effects it actually got) and the chance to score little joining scenes that don't come up very often. What it is about Star Trek movies and short shuttle rides that bring out the best in composers?! The Wrath of Kahn has a similarly lovely few seconds as the crew journey to the Enterprise.
 
Having said all that, I've not come across a Jerry score where the original versions of a couple of action cues (notably Open the Gates and Let's Get Out of Here) are surprisingly clunky in places and the album edits really tighten the pacing. Not sure if those little pauses are due to William Shatner's pacing or just one of those things, but it's really noticeable compared to the tightness of the album edits.

Maybe he is color blind?

Nah. You're just not worth my time to correct typos.

Re: CHERNOBYL
It was a FANTASTIC mini series so the music got more attention than it would have other wise.
It was not all sound design; there was a recurring mournful choral piece, accompanying refugees, that is probably the reason the score was acclaimed.
 
JOKER was definitely not sound design, and deserves its plaudits.
Shark lives so far in the past he considers Brahms ' avant-garde'-

And you have the cojones to😡😠😄 criticize Zimmer for handing off music to underlings?!

Nah. You're just not worth my time to correct typos.

I meant Badelt
 
 
tFwiw
Composers I have interviewed think very highly of this score.
" Now we are free" is magnificent!
 
Deal with it.
 
 
I blame Scott falling in love with the temp track for that aspect

Let's hope he didn't study with HanZ.