Jump to content

Lewya

Members
  • Content Count

    893
  • Joined

  • Last visited

  • Days Won

    2

Lewya last won the day on May 11 2016

Lewya had the most liked content!

About Lewya

  • Rank
    Regular Poster

Profile Information

  • Gender
    Male

Recent Profile Visitors

6010 profile views
  1. This was news to me. Apparently Goldenthal thanked David Shire in the booklet of Alien 3. "I have a lot of admiration for David. David did a score called The Taking of Pelham 1-2-3 and that's a twelve-tone big band score. That's something that's never associated with Mr. Shire, who's many times thought of as a middle-of-the-road type composer, but that work, if you just listen to it on its own, it's a very unsusual score." I wonder if Goldenthal has mentioned Williams in the past and what he has said about him, I can only remember a comment he made about Jaws, nothing else: “It took a director like Spielberg, who really pays attention to music, working with Williams, to remind us of the power of music in a film,” Goldenthal says of “Jaws.” “It is not special effects or sound effects that makes ‘Jaws’ scary, but Williams’ music, just as it was Herrmann’s music in ‘Psycho’ that created all the terror in the shower scene.” A new video of Elliot Goldenthal discussing his score to Alien 3:
  2. James Mangold recently followed Michael Giacchino on Twitter if I am not mistaken. It wouldn't surprise me if it will be Giacchino. Either Giacchino or Beltrami will get the gig. I don't think JW will do it, although if he would do it, it wouldn't surprise me either. I hope JW focuses on better projects than to go out on SW 9 or Indy 5.
  3. Taxi Driver for me. I don't consider Taxi Driver to be one of Herrmann's top 10 scores though, but I really like it. While we are on this topic, I think Scorsese has rather subtly expressed some criticism for John Williams by the way. I think he said in the Spielberg documentary that he sometimes mutes the sound on Spielberg films and just watches pictures. But maybe I am reading too much into that.
  4. Yey, Newman again named The Best Exotic Marigold Hotel as a favourite score of his - my favourite film score of the 2010s:
  5. I just found Leonard Rosenman's and Hans Zimmer's top 5. 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
  6. Only ONE critic out of 122 critics wanted Williams to win for The Rise of Skywalker while 40 critics wanted Joker to win. Surprised Desplat was only 5 votes away from Joker to be honest: Best Original Score 1. Hildur Guðnadóttir, “Joker” (40 votes) 2. Alexandre Desplat, “Little Women” (35 votes) 3. TIE: Randy Newman, “Marriage Story” (23 votes) / Thomas Newman, “1917” (23 votes) 4. John Williams, “Star Wars: The Rise of Skywalker” (1 vote) https://www.indiewire.com/2020/02/which-movies-should-win-oscars-2020-critics-vote-parasite-1202209448/
  7. LOL. I just don't get it. Now she is even called out for helping to redeem film music's reputation by a recent Pulitzer prize jury member. This professor who wrote this article was one of the five jury members for the Pulitzer prize for music two years ago or so: https://www.thenation.com/article/culture/hildurg-gudnadottir-music-profile/ Her scores for HBO’s Chernobyl and Todd Phillips’s Joker bring soundtracks into the realm of high art. Few insults hit a serious composer as hard as saying a piece of work “sounds like movie music” or, worse still, like “mood music.” The background function of a film score has stigmatized the genre as something insubstantial and inclined to cliché since the days of piano players tinkling away as silent pictures flickered in early movie houses. Mood music took hold as a genre with the introduction of the long-playing record, when albums of lush strings and sonic faux-exotica by schlocksters like Les Baxter were pitched as aural lubricants for bachelor-pad sex, and the contemporary variations on the form found on Spotify’s “chill” playlists are still considered less-than-major works by nature of their functionality as ambiance. Hildur Guðnadóttir, the composer from Iceland best known for her scores for the HBO miniseries Chernobyl and Todd Phillips’s comic-villain thriller Joker, has emerged from years of noble obscurity in the darker corners of the art-music world to help redeem the reputations of both movie music and mood music. In the past year, she’s won an Emmy and a Grammy for Chernobyl and a Golden Globe award and an Oscar nomination for her Joker score. As the headline of an Esquire piece on her newfound prominence announced, “‘Joker’ Composer Hildur Guðnadóttir Is Shaking Up the Industry.” More accurately, the mainstream entertainment industry is shaking itself up by allowing Guðnadóttir to do, in a high-profile way, the kinds of things she’s done in avant-garde circles for years. Now 37, Guðnadóttir has been creating bold and imaginative music on her own and with a variety of collaborators since the first decade of the 21st century. In fact, she’s been performing publicly on her primary instrument, the cello, since girlhood, encouraged by her parents: her mother, the classical vocalist Ingveldur Guðrún Ólafsdóttir, and her father, Guðni Franzson, a clarinetist, composer, and conductor. After experimenting in various art-rock ensembles throughout Scandinavia and in Berlin, where she studied at the Universität der Künste, Guðnadóttir made her first solo album, Mount A, in 2006. Though it was released under the pseudonym Lost in Hindurness, Guðnadóttir made every sound on the recording, from the nonverbal vocals to the cello, piano, zither, vibraphone, gamelan, gamba (a Renaissance-era stringed instrument), and Mongolian khuur, which I’d never heard of till I read the liner notes. Recorded partly in a New York studio and partly in a house in the village of Hólar, Iceland (because she liked the way her cello sounded there), Mount A was rereleased in 2010 under Guðnadóttir’s own name. It is an exceptionally assured and strange recording debut, a DIY collage of sonic textures and tone colors by an artist open to the moment and hungry for surprise. “I think there shouldn’t be limits to what we’re allowed to say or express, as long as we don’t hurt anyone,” Guðnadóttir told an interviewer in an “All Access” video. “Music should be a form of free expression.” Her willingness (or eagerness) to venture into under-explored areas of emotionality was a hallmark of her music long before she gave voice to the brooding rage that festers into gleeful sadism in Joker. If her music won’t hurt anyone, she’s happy to conjure the sound of someone, like Joker, who will. After Mount A, Guðnadóttir worked as a cellist or composer on more than a dozen albums made in collaboration with electronic, art-pop, classical, or category-defiant musicians in Scandinavia, from established figures like Nico Muhly, Ben Frost, and the Swedish group the Knife to acts little known outside the Nordic world, like the short-lived Iceland band Rúnk and the Finnish techno duo Pan Sonic. What’s readily streamable of this output today, such as Muhly’s Speaks Volumes (2006), Frost’s Theories of Machines (2006), and Tu Non Mi Perderai Mai (a collaboration jointly credited to Guðnadóttir and the late Icelandic composer Jóhann Jóhannsson, also from 2006), only hints at the imaginative force of Guðnadóttir’s solo music. By 2009, when she released her second album, Without Sinking, Guðnadóttir was fully formed as an experimental composer and musician. As on Mount A, she played multiple instruments and sang atmospheric, nonliteral sounds but added a trio of musicians—Jóhannsson on organ, Skúli Sverrisson on bass, and her father on clarinet and bass clarinet—to bring more colors and fuller body to the music. It is, in concept, programmatic music intended to suggest an encounter with a body of water in a place like Iceland, which is to say a place like no other. The 10 selections have simple titles such as “Elevation,” “Overcast,” “Ascent,” and “Into Warmer Air,” and the tracks feel at first like conventional ambient music. But unexpected things happen as their sounds unfurl. Acoustic instruments are overtaken by electronics, twisted around, and transformed. The familiar is disrupted by the unnamable. To take this as mood music is to allow your mood to spin and sink and land somewhere you’ve never been before. The essence of Guðnadóttir’s music as an agent of mood was recognized early as suitable to film scores. Beginning in 2011, she was commissioned to compose music, alone or with collaborators, for a series of European films, including Tobias Lindholm’s A Hijacking and Saul Dibb’s Journey’s End. When Jóhannsson died suddenly in the midst of writing music for Garth Davis’s Mary Magdalene, Guðnadóttir completed the score. Her music for that film was celebrated for its deft mingling of classical sonorities and electronics to bring timely resonance to characters from deep history, and Chernobyl and Joker followed. For Chernobyl, the British-made miniseries about the 1986 Soviet nuclear disaster, Guðnadóttir tapped her skill with nontraditional sounds and constructed a full musical score with no music. To evoke the grim, oppressive atmosphere of the film’s time and place, she toured the decommissioned nuclear facility used in the film and had a specialist in field recording capture the sounds she encountered there, the hums and buzzes and rhythmic clanking of the machinery. Then she processed those sounds and edited them as if they were instruments and made a grimly hypnotic anti-musical kind of music from them. For Joker, Guðnadóttir also worked unconventionally, composing the score from the shooting script rather than a rough cut of the film. She wrote the core themes on a halldorophone, an electro-acoustic instrument that is played much like a cello but facilitates the creative manipulation of feedback and other effects. Phillips, when shooting the film, would play Guðnadóttir’s music on the set, allowing the score to drive the action. With the background music foregrounded in the filmmaking, Guðnadóttir’s score is as elemental to Joker as Joaquin Phoenix’s performance. The music, a slow-acting poison formula of acoustic instruments and electronics mixed and overheated, brings to life the Joker’s degeneration into madness and bloodlust so vividly that you could watch the movie with your eyes closed and the vocals muted and still have the Joker experience. Reflecting on the darkness of the score in an interview, Guðnadóttir connected it to her work outside film, music that deserves to be more widely heard. “My solo music started as a way to really look inwards…without any outside dialogue,” she said. “A lot of my music is kind of contemplative, and somehow that always tends to tilt on the darker side. My inner conversation is apparently quite dark.”
  8. Alex Ross, the music critic for The New Yorker wrote that Desplat's score for Little Women was a mere step above a score for a Hallmark holiday movie, maybe just half a step better: He also liked that comment someone made about the score being awful and Desplat phoning it in.
  9. An anonymous Oscar ballot from a member of the directors branch critizised the nomination of Williams, here is what he/she said: Original Score “Joker” will win for Hildur Guðnadóttir. I can’t deny it’s a great score. “1917.” However, Thomas Newman has never won. The music for that flaming village scene and the end cue of the movie are both extraordinary. I may vote for this. “Star Wars: Rise of Skywalker” is the only bullshit nomination. John Williams has done some amazing work, but not a single cue in this pops at all. https://www.indiewire.com/2020/01/anonymous-oscar-ballot-2020-director-best-picture-1202207110/
  10. 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...
  11. 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/
  12. 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.
  13. 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?
  14. 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.
×
×
  • Create New...