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Posts posted by David Coscina
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I agree with you Alex.
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Then I guess we must agree to disagree on that film.
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Nice Williams quote Ray! I totally agree with it too.
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I don't mind it. Although I prefer The Hulk. And I prefer Elfman's Hulk score to SPiderman too.
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JoeinAr, I already aknowledged and apologized to IndySolo for that remark. It was inappropriate.
Insofar as Titanic is concerned, I think A.I. is more substantive. Is it perfect? No. But I'll take a film with vison that doesn't quite work over a safe, predictable movie any day of the week. I find Titanic "safe". It has a tragic love story, something that appeals to many, an archetypal villain (Billy Zane), a score that pushes all the right buttons (let it not be said that Horner isn't a skilled dramatist, regardless of where he gets his inspiration from), and some incredible set pieces. Leo DiCaprio is a pretty good actor but I don't think this was the crowning achievement in his canon. Likewise for Kate Winslett. The effects were amazing for their time and yes, as Mark Oliveraz points out, it shows on screen. But really, after seeing it once, what's the point? Does it spark conversation? Debates (other than whether it's lame or not which doesn't really count)? Not really.
Hey, if the thing inspires you or makes your day, great! Maybe you can empathize or identify with some of the characters. And I don't mean this in a patronising way either. For the record, I liked Victor Garber's role, but then again, I think he's an underrated actor and kudos to Cameron for hiring Canadian talent such as Garber.
But don't you agree that Titanic is an example of pop art...just like Star wars, Spiderman, Lord of the Rings, etc. It is not "high art". And there's nothing wrong with that. But I wish more people could separate their own personal opinions or feelings about a movie or film from objective criticism of said work. I like really silly films like "Back to School" and the old '60's Spiderman cartoons. Are they good? Hell no. But I have a sentimental attachment to them and enjoy them just the same.
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Young, Debney and LoDuca all apparently wrote some material for Spiderman...at least the first two for sure. I too am looking forward to hearing what Young wrote...
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Alias Season 2 is the strongest with respect to the writing and the story arc. Even Giacchino's score develops past the action-techno writing of the first season and into a more orchestral-based film styled score. I love his variations on the main themes i.e. Sydney's and Vaughn's, Sloans, Rimbaldi's, etc. Ford Thaxton said Varese might be putting out the second season soundtrack. If so, I'm there!
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And KM, in 20 years I think I will remember what I thought of when I saw The Terminal - how impressed I was with William's contextualization as a musician and his brilliance in general, to write so smoothly in so many different genres. That doesn't mean I like it the best - sigh... not enough good stuff for the horns
- YES!!! A wonderful objective point! Well done young jedi. And you know SeekUYoda, no one can fault you for that. An astute observation about Williams' score too.
Personally, I really like The Terminal. the "Love Theme" is one of the most beautiful jazz-styled themes I've heard in the oh, past 30 years (sadly there's been a shortage of these styled themes). And as a whole, I like the intimacy better than POA. But that's me.
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For me, it's an empty, superficial experience that typifies the current North American mentality- style over substance.
thanks, I love to see such stupidity so freely offered.
If I'm so stupid, then give me a couple reasons why Titanic is the masterpiece so many say it is...
And incidently Joe, name calling is really a "smart" response to my post eh?
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Sorry IndySolo, my previous statement came out much too harsh. All I meant is that, and I don't have any beef with North Americans seeing that I'm one of them, that our current state of entertainment doesn't often have as many thought-provoking elements as they could. Perhaps because we North Americans work an average of 50 hour work weeks and at the end of the day want a little escapism. No problems. But I'm getting a little concerned over what some people herald as fine art.
I like Spiderman as much as the next guy . It's fun, and reasonably well made. But I can discern "fun" from "great". Seven Samurai might not be "fun" but it is great, on many levels, both technical, and as a social commentary. And I do find it immensely engrossing.
With all the banter surrounding Titanic, one would think it should be placed in the company of such films as Seven Samurai, The Seventh Seal, Potempkin, Ivan the Terrible, Weekend, Vertigo, The Godfather, and countless other examples of utterly amazing filmmaking. And seriously if someone lauds it that way, then I wouldn't want to engage them in any objective discussions concerning film.
The question does arise, can films be entertaining AND have some kind of message? Well Michael Moore is trying like hell to make his films accessible to the masses and at the same time give them something to think about, regardless of whether they're pro Bush or anti-Bush. And I applaud his efforts. We need more filmmakers like him, and possibly less of guys like Michael Bay and, dare I say, James Cameron (who by the way is a Canadian so there's no bias here).
cheers
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Don't forget Brittany Spears, 'N Sync, and Backstreet Boys...
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It's technically very adept, I'll concede that. But the storyline just doesn't hold up IMO. I still maintain that it trivializes the actually tragedy. But that's just me.
And I don't think commerce determines what great art is, especially in this day and age. If that was the case, Mahler would have been forgotten and not acknowledged as the pivotal figure he was in the development of western music. Same goes for Charles Ives, Charlie Parker, John Coltrane, etc. etc.
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probably reading this dumbass thread...isn't this supposed to be a fan forum?
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JoeinAr, that's my preference, it's not hogwash. I don't think Titanic is as well directed nor as substantial in its themes. It's a special effects spetacle with a sappy love story. That's my opinion. Don't seek to illegitimize my personal tastes in movies just because you might be insecure with your own choices.
If you like Titanic, great. Many did. For me, it's an empty, superficial experience that typifies the current North American mentality- style over substance.
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Amen Yoda!!!!
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Accidental Tourist was the score the got me back into listening to soundtracks...I'd taken quite a break during the mid-to late '80s.
And I think that Macon Leary is so repressed and cautious for most of the film that Kasdan/Williams sought to finally lift him out of his drab world when he responds with a smile and the film ends on a close-up on Hurt's face (along with Williams' soaring music). I think it's a great climax...The only other film that I think pulls this technique off his The Edge where the movie closes on Hopkins' as Goldsmith reintroduces the main theme in the horns.
Both enndings are great cinematic moments IMO.
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Superman: The sequence where Clark races the dog to the barn and Pa Kent has but a moment to realize he's having a heart attack and collapses. the music here is amazing with a tubular bell accenting the moment with the full string section underlining the gravity of the moment. Then Williams introduces the "Leaving Home" theme on a solo horn...Sends chills down my spine every time.
Schindler's List- When the little girl in red races up the stairs taking refuge under a bed with a tight shot on her face, and we hear the Remembrances Theme in the winds.
Most Amazing Cue of All- Last 20 seconds of The Accidental Tourist where the music builds and builds, then as Muriel flags down the cab, we see Macon Leary's face through the window, finally smiling and Williams' lets loose on a glorious rendition of the main theme. Seriously, this is my all time favorite ending to a film ever....never have I seen images and music function so cohesively to underline a key moment in the film narrative.
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I'll take A.I. over Titanic every day of the week. One posits the idea of love=self destruction, the nature of how selfish and self-serving "love" actually is, while the latter is just fluff and trivializes a terrible historical event.
A.I. is along the lines of Kubrick's 2001. Largely misunderstood in its time but will age very well. I do think the film should have closed with David praying the the Blue Fairy at the bottom of the ocean though. I think he ultimately achieves his humanity by following the same delusions as all of us do: the Fairy becomes his religion, his quest for God and thus imortality. The 20 minute "ending" albeit the most apocalyptic thing Spielberg has ever done, is what differs Steven from Kubrick. Spielberg loves to resolves his stories and Kurbick liked to leave them unresolved...
I still fail to understand how people think A.I. ends on a loving, sappy note. Humanity is long dead and the only vestige left over of man's existence is a plaything (Teddy). It's a very bleak ending.
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I thought that little insert was a nice thing. It reinforces purchasing music as opposed to stealing it.
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This is the dumbest poll yet. C'mon folks, this duo has been responsible for some of the greatest (and most popular) cinematic works of our time.
After reading some of these comments in this post, I weep for the future. Williams should have done Pirates of thew Caribbean over The Terminal? How old are people on this board anyhow? Do they suffer from ADD or some deficiency like that? I hope Williams STOPS composing so many bloody scores for mindless popular drivel. The Terminal obviously appeals to people who are past puberty and that's about it.
Having written underscore for dramatic and comedic films, I'll tell you it's a helluva lot harder than writing bombast in those summer blockbusters. And Williams does this so well, along with Tom Newman, amoung others.
Look at what happened to Goldsmith after scoring so many shitty films in the '70's, '80's, and '90's. The poor guys gets a gem like LA Confidential or The Edge once in a blue moon and is reconciled to scoring shit like Leviathan, or Looney Tunes or whatever. Too bad Frank Shaffner died because he was one of the few collaborators that Goldsmith really produced excellent score with.
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okay that's a silly thing to say on a John Williams board! Of course Williams has it in him. But then again, I'm glad he and Yared have different styles.
Troy is the best thing I've heard this year with respect to epic scores, but I love Williams' The Terminal for its jazz harmonies. That theme on track "Jazz Autographs" some of the best music Williams has ever composed in my book and is easily one of his finest themes to date.
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Robocop is one of the best "comic book" films even though it wasn't based on a Marvel or DC comic book. It does have all of the staples of a great comic book movie though: archetypal villains that you just loath, a hero who faces insurmountable odds, and some really great payback scenes. Loved Poledouris' score too. It's so bold. In fact, Robo's theme is probably my fave "hero" theme next to Williams' Superman.
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Usual Suspects is one of the most overrated scores I've heard. It's all derived from other scores, especially Williams' Conspirators track from JFK (except not done anywhere near as deftly).
Listen, Morlock, obviously you like Ottman's work. Wonderful. I cannot say I've heard anything by him that was well written. But then again, I come from an academic background where I'm used to listening to Mahler, Shostakovich, Prokofiev, Ravel, Debussy, John Adams, and find Williams, Goldsmith, Broughton, Shore, Yared, and such to be more in line with that type of compositional prowess. I hardly think Ottman would put himself in that company either.
On the plus side, he seems like a very nice person, based on his interviews.
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I rented it last night and it's attrocious. It's flat and makes Leviathan look like a classic by comparison.
I don't blame Stromberg or Morgan though. Their music is tongue and cheek. Seems to evoke parts of Poledouris' original although I don't detect any lifts; it;s more in spirit than anything. But I feel badly for any composer having to work on this utter piece of rubbish.
Fahrenheit 9/11
in General Discussion
Posted
I heard the score to F911 was pretty good. One review said there was a section that evoked Herrmann's beautiful music for F451.
Personally, I admire Moore for making documentries palettable and frankly entertaining as much as they are insightful.