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Lewya last won the day on May 11 2016

Lewya had the most liked content!

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  1. A statement from JW himself on Kobe's passing in NY Times: Williams said in a statement Sunday that Bryant’s death was “a terrible and immeasurable loss.” “During my friendship with Kobe, he was always seeking to define and understand inspiration even while modestly, and almost unknowably, he was an inspiration to countless millions,” Williams said. “His enormous potential contribution to unity, understanding and social justice must now be mourned with him.” https://www.nytimes.com/2020/01/26/sports/basketball/kobe-bryant-oscar-award.html Edit: Oh, I see it was already posted in another thread, oh well...
  2. He took over a big Spotify playlist with many followers where sometimes a director or composer picks their favourite film music, it has since been removed, but the user I posted above saved the tracks before it got removed. https://newsroom.spotify.com/2019-04-03/composer-hans-zimmer-talks-musics-starring-role-in-movies/
  3. I haven't seen this list posted before on the forum - it was shared in april last year. Elliot Goldenthal and Jerry Goldsmith are the two film composers with the most tracks in Zimmer's list, the only ones with three tracks each in Zimmer's top 40. A bit surprised Zimmer didn't pick more tracks by Morricone, as he is Zimmer's #1 film composer of all time. Hans Zimmer's top 40 favourite film score tracks of all time (in no order): Titus Victorius from Titus composed by Elliot Goldenthal Adagio from Alien 3 composed by Elliot Goldenthal Alcoba Azul from Frida composed by Elliot Goldenthal Main Title from Alien composed by Jerry Goldsmith The Reactor / The Hologram from Total Recall composed by Jerry Goldsmith Main Theme from Basic Instinct composed by Jerry Goldsmith Wild Signals from Close Encounters of the Third Kind composed by John Williams Washington Ending / Raiders March from Raiders of the Lost Ark composed by John Williams The Mission from The Mission composed by Ennio Morricone Main Theme from Once Upon a Time in the West composed by Ennio Morricone Love Theme from The Godfather composed by Nino Rota La Bella Malinconica from La Dolce Vita composed by Nino Rota Titles from Chariots of Fire composed by Vangelis End Titles from Blade Runner composed by Vangelis Theme from Back to the Future composed by Alan Silvestri Main Title from Predator composed by Alan Silvestri Theme / Isandhlwana from Zulu composed by John Barry Wednesday's Child from The Quiller Memorandum composed by John Barry Avalon / Moving Day from Avalon composed by Randy Newman The Natural from The Natural composed by Randy Newman Malcolm Is Dead from The Sixth Sense composed by James Newton Howard Can I Trust You? from Red Sparrow composed by James Newton Howard Test Drive from How to Train Your Dragon composed by John Powell Dedication from United 93 composed by John Powell Main Title from King Kong composed by Max Steiner Main Title from Gone with the Wind composed by Max Steiner Coronation from Kingdom of Heaven composed by Harry Gregson-Williams Main Title Theme from The English Patient composed by Gabriel Yared The Umbrellas of Cherbourg from The Umbrellas of Cherbourg composed by Michel Legrand Theme from Midnight Express composed by Giorgio Moroder Dawn / Buck Up - Never Say Die / Smile from Modern Times composed by Charlie Chaplin Prologue and Main Title / Castle Plunkett from High Spirits composed by George Fenton Main Title Theme from The Last Emperor composed by David Byrne Ballad for Mathilda from Léon composed by Éric Serra Merry Christmas Mr. Lawrence from Merry Christmas Mr. Lawrence composed by Ryuichi Sakamoto Future Markets from There Will Be Blood composed by Jonny Greenwood Main Title from Laura composed by David Raksin Main Title from Taxi Driver composed by Bernard Herrmann Tsurumaru's Flute / Azusa Castle In Ruins from Ran composed by Toru Takemitsu The Shawshank Redemption from The Shawshank Redemption composed by Thomas Newman A random Spotify user made a list of Zimmer's choices here: Thoughts on his picks? Personally, I only find about 50% or so of his choices reasonable. I think he must be a bit biased for the Powell et al picks for instance.
  4. I just found their picks. Thomas Newman's top 5 film scores of all time: 1. Chinatown - Jerry Goldsmith - ”For its mood — it fits the time and place perfectly.” 2. To Kill a Mockingbird - Elmer Bernstein - ”Very effective, it just works.” 3. Psycho - Bernard Herrmann - ”Unique and utterly unusual.” 4. The Wizard of Oz - Herbert Stothart - ”Sure, I love the songs, but the score itself is excellent.” 5. King Kong - Max Steiner - ”There's a total sense of popcorn fun. It's a fountainhead score - the beginning of something new.” Elliot Goldenthal's top 5 film scores of all time: 1. Cape Fear - Bernard Herrmann - ”He was the first minimalist. The score was played at a volume where it wouldn't compete with the movie's sound effects.” 2. La Strada - Nino Rota - ”It brought together the carnival and sensual elements of the church.” 3. Altered States - John Corigliano - ”With this soundtrack, he reinvented orchestration in film scoring.” 4. On the Waterfront - Leonard Bernstein - ”His only score had the sky-soaring melodic beauty of the American school.” 5. The Informer - Max Steiner - ”This has both Irish and Celtic folk melodies combined with a sweeping orchestral tapestry. It's brilliant.” Leonard Rosenman's top 5 film scores of all time (in no order, although we can assume the Herrmann score is his #1): Psycho - Bernard Herrmann Jaws - John Williams Gone with the Wind - Max Steiner Patton - Jerry Goldsmith East of Eden - Leonard Rosenman He included himself among the 5 best film scores of all time. Hans Zimmer's top 5 film scores of all time (in no order, although he has said at another time that the Morricone score is his #1): Once Upon a Time in America - Ennio Morricone Blade Runner - Vangelis Midnight Express - Giorgio Moroder Close Encounters of the Third Kind - John Williams The Shawshank Redemption - Thomas Newman Thoughts on their picks?
  5. I would never go for the poor Titanic or a relatively mediocre pastiche score like HP 3. Neither of them are "essential" nor do they represent film music at its best. You could argue that Titanic is even a score that gave film music a bad reputation. A Streetcar Named Desire and East of Eden would be two good candidates to begin with though I think. Why? Because they used modern music and both of the scores contain music that represents film music at its best. At their best, they have never been surpassed in the field. Both by two of the most formidable composers to ever work in the field as well.
  6. Yes, I don't like Alfred Newman's music much - I said more original and individual - not more late romantics. Oh, I prefer T. Newman almost any day over Williams.
  7. Of course, these days I don't feel that attracted to Williams's music. I prefer more original, individual and inventive composers over him. Newman for instance, I feel far more attracted to and close to. There hasn't gone by a month where I don't listen to any of Newman's music, but there have gone months where I don't listen to Williams. Too much of Williams music is way too bombastic for my taste. My taste in music is generally more alternative, experimental... ambient music. Almost the opposite from the stuff Williams usually does. And when I listen to Williams, I easily prefer things that aren't any of the Star Warses or E.T. Close Encounters and A.I. are my two favourite JW scores.
  8. The Wind and the Lion is top 20 Goldsmith material and the best one of the three, The Mummy, I am not sure would crack his top 20. It is a solid score and one of his best of the 90s together with Mulan and Basic Instinct, but a bit too cheesy for my taste, I almost never listen to it. Never had any affection for The Ghost and the Darkness, but it isn't bad, it is still a decent score. But overall, none of these three scores is something that I listen to, even if especially the first two are good.
  9. I don't think my preferences are very realistic, I admit that. But I still wish he went beyond the predictable for someone else. I am tired of Zimmer automatically being the go-to man for your promising blockbuster. Goldenthal would have certainly been up there among my top choices, but I admit, it is not very realistic. Same with Brian Eno and Cliff Martinez (he is more realistic than Eno) if it is an electronic score, I tend to prefer their more ambient sounds over Zimmer who is usually more bombastic. Shore in more alternative/experimental mode or Newman (who doesn't seem like a good fit on paper, but who usually delivers) would also interest me far more than Zimmer. I agree with some of these, especially Goldenthal, Shore and Martinez. Maybe Vangelis too, but he is almost retired now. Gabriel would interest me too, at least if he could deliver something like Christ again. I prefer Zimmer over Murphy, Young and Jones.
  10. Zimmer. Hopefully it won't be another horrible Dunkirk score. His Blade Runner score was just OK. The most recent Zimmer score I really liked was Inception. Not a big fan of Zimmer at all though.
  11. It is extremely rare that a film composer receives this kind of attention from leading concert composers, so Rosenman must have done things right. Both John Adams and John Corigliano are fans of him, especially of East of Eden and Rebel Without a Cause with Adams favoring the latter and Corigliano the former. Rosenman himself considered East of Eden his best score. Here is what John Adams wrote about Rosenman in liner notes in the East of Eden and Rebel Without a Cause recording he conducted: Leonard Rosenman is an important transitional figure in the history of film music: a highly skilled composer whose best work evolved during a critical period between that of old school Europeans like Max Steiner and Dimitri Tiomkin and that of the later, more pop-oriented composers of the 60s, 70s and beyond. Rosenman was doubtless one of the most thoroughly schooled musicans ever to work in Hollywood. Before making an acquaintance of director Elia Kazan in New York in 1954, he studied composition and theory at the University of California, Berkeley with Roger Sessions, the most serious of all serious composers. He was thoroughly familiar with all the latest modern techniques in the works of Stravinsky, Bartók and Schoenberg. Most importantly, he possessed one thing Sessions lacked: the common touch, an ability to mirror the American vernacular experience in his music. This was an essential ability for anyone hoping to make a successful foray into commcercial film music. East of Eden, Rosenman's first score was an ideal vehicle for his talents. The John Steinbeck story combines homespun simplicities of mid-century American social realism with the darker, more symbolic themes of filial disobedience and Oedipal search for his the lost mother. Set among the lush and irresistible beauty of the northern California coast, this 1955 film took the young James Dean into almost instant celebrity in the role of the tormented, misunderstood and unappreciated brother and son. The story, with its consciously Old Testament motifs acted by an ensemble of exceptionally gifted performers, including Julie Harris, Raymond Massey and Burl Ives, is one of the better examples of what a major Hollywood film could achieve. Rosenman's score is, when required, appropriately evocative of a "simple" American past (the story takes place during World War I). He utilizes both the widely spaced harmonies and simple diatonic tunes made famous by Copland, but Rosenman's ideas are never whole-cloth borrowings. His music has its own originality. The famous "Main Theme" with its innocent, almost childlike 3/4 lilt is one of the most memorable melodies in all American cinema. The music matches the qualities of Steinbeck's prose with uncanny exactness, at one moment being simple and plainspoken to the point of rusticity, and then modulating abruptly to a suppressed brooding that is far more sophisticated and self-aware than any earlier example of music for the screen. Written a year later, Rebel Without a Cause was musically even more successful, although the film, with its portrayal of misguided, troubled American youth, lacked the depth and richness of the Steinbeck story. While East of Eden was a period piece evoking for the American viewer an already lost idyllic past, Rebel Without a Cause was harshly contemporary and showed a strong influence of film noir in its treatment of the subject and characters. It may well be the film that created the whole "Fifties" stereotype, with its pompadour male hairstyles, car fetishes, and gangs of disaffected teenagers given to casual violence and unable to communicate with their uncomprehending elders. It is perhaps not insignificant that his film predates the premiere of West Side Story by two years. For the film, which provided another starring role for James Dean and an early appearance by all-too-worldly Natalie Wood, Rosenman created a complex score that moves effortlessly between the urban big band jazz of Stan Kenton and the moody atmospheres of Bartók and Stravinsky. Bartók's Music for Strings, Percussion and Celesta, hardly known to the general public in 1955, makes a particularly evocative model in film's "planetarium" scene, during which the 50s' newfound preoccupation with outer space and extraterrestial events is eerily worked into the film's existential themes. The fractured rhythms and polytonalities of Stravinsky's Rite of Spring are felt in the scenes of violence and terror, although here, as elsewhere, Rosenman never loses his own original voice. Unlike many a lesser film composer, Rosenman managed to avoid resorting to hasty pastiche or overt borrowing. The two scores show what could actually be achieved when a skilled composer and a director sensitive to the powers of music were allowed to work together under conditions of artistic freedom, unimpeded by the crush of market forces - a rare moment in an industry in which art and money always maintain a difficult equipoise. - JOHN ADAMS During Sunday's pre-concert talk, conductor John Adams – who recorded Rosenman's East of Eden and Rebel Without a Cause suites for Nonesuch in 1995 – described the composer as "one of the most important, skilled and knowledgeable of all film composers." "Adams took the microphone during the concert to extol Rosenman's virtues, calling him a "sophisticated composer" who helped to bring "psychological depth" to 1950s films like Rebel Without a Cause." John Corigliano: "East of Eden with Leonard Rosenman's music, is a great film on every level. It's like a combination of Berg and Barber and it's beautiful, and it has a simple American melody also of pure innocence. That score is great. It's so powerful, and in addition to that highly chromatic and nervous, wonderful sinewy beauty he also has an innocence like Copland. It should have a symphonic version played by major orchestras".
  12. https://michaeldaughertycomposer.com/interviews/michael-daugherty-discusses-his-creative-process-with-robert-raines/
  13. Blade Runner by far in both categories. Both the score and film is top 10 of all time material.
  14. Michael Daugherty: "The wonderful music of John Williams is old school: you hear counterpoint, counter melodies, great orchestrations, changes of tempo and rubatos. I must say, I miss the old days of film music; the scores of Alfred Newman, Max Steiner and Bernard Herrmann for example. That way of composing virtuosic film music may come back someday, but at the moment we are in a very technologically driven world of film music, that, in my personal opinion, has inhibited the creative possibilities."
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