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TheHouseholdCat

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About TheHouseholdCat

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  • Birthday 11/19/1988

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    Berlin, Germany
  1. I think Contact shows pretty well which issues he was concerned about. And they basically left all that out in the film. Sounded pretty amazing and exhausting to me.I love how Carl got all excited about the idea alone.
  2. A great choice for the top 2. I watched Interstellar only very recently and was surprised how different the score was to Zimmer's usual scores. The Lion King is in my top 5, definitely. Iconic and well-deserved Oscar win. The Dark Knight was amazing too. I generally am a fan of Zimmer/Newton-Howard. So... This one is up there for me, too. My top 10 looks like this: 1.) Interstellar 2.) The Lion King 3.) Inception (I only really love a couple of the cues, but for Johnny Marr alone, this is my number three.) 4.) The Dark Knight 5.) The DaVinci Code 6.) Angels and Demons 7.) Rain Man 8.) Thelma and Louise 9.) Sherlock Holmes 10.) King Arthur
  3. For me the strength of the film is between the lines. The satire alone would just be a satire. It wouldn't be as memorable. What I love about the film are the aesthetics. The cinematography and the score are both very minimalist. Both add so much to the film. It has become one of my favourite films. Every time I watch it again... It still hasn't lost any of its value. On the surface it might appear to be just another 90s flick. But the subtext and the way that the film draws in the viewer make it so worthwhile to me.
  4. Thomas keeps bringing up Bernard Herrmann in interviews. He has also mentioned John Williams in the past. A very important direct musical influence would be Rick Cox who has worked with Thomas since the 1980s. He worked on the electronics for The Rapture, he played saxophone on The Player, he provided lots of experimental guitar for Road To Perdition and played the banjo ukulele on American Beauty, just to name a few examples.
  5. I've only seen Moonrise Kingdom so far, but I'm really interested in Argo. Even more than Lincoln.
  6. It depends what era we're talking about. I still shy away from black and white films. I think I know more films made in the 80s than the 70s and most films I know were done after I was born. Everything from '88 onwards.
  7. I voted for 2-D and 48 fps. I didn't even know you could choose between 24 and 48 fps. Weird... But anyway... I find this 3-D trend appalling and 3-D doesn't make the film look more realistic and it doesn't look better and I like it when the film is not glued to my eyes.
  8. True, the ending was very touching. Without trying too hard. Because people actually cared about the character.
  9. Well, you do have a point. We'll have to blame Sam Mendes. As Newman has written at least a dozen lush orchestral scores, it can't be entirely his fault. Or maybe he just shouldn't try out something else because it's much safer to stay in his usual territory. Personally, I think that's what he should be given credit for. I think he did a good job at Bond and he's certainly never written anything like it before. Well, he did say he watched Bond films in cinema. So that's the late 60s and 70s. I think what he meant with the themes is that you often have complete pieces of music in Bond scores. Melody is the main focus, rather than an underlying mood. So if you watch a film like "On Her Majesty's Secret Service" as opposed to the modern "Arnold" Bonds, you'll definitely hear music that's not directly reacting to what's happening on screen. It's not that the music does not support the action, but it is more independent. Well, you can blame him for that or not, but Thomas Newman tries to react to the action in a subtler way. You may like that or not or you can say that this approach is "wrong" for a Bond film. But it sounded very much like Thomas Newman is aware that he has to approach Bond in a different way. Is there such a great difference between Thomas Newman and David Arnold? They're both less traditional composers. They don't sound alike, but they both are very different to John Barry. How can you criticise Thomas Newman where you praise Arnold?
  10. I loved that moment, too. Craig really pulls it off. Well, some people really didn't notice that. I don't think that's weird, as people don't notice different things. I didn't notice anything really bad about the film. Well, as long as I am satisfied... And every time I try to remember anything odd about the Komodo Dragon... I just think of the Komodo Dragon. It worked for me. But that's just my natural naiveté, I guess......
  11. It was just very theatrical. B-movie ending would be the wrong description. no it didnt. It lacked a lot of shaders and crap like that. it was noticeable CGI, many films have already had very good CGI animals. The komodo looked like CGI from ten years past or more. I didn't notice anything weird about it. I'm glad I didn't because it seems to have spoiled the experience for you. Well, at least it wasn't a nuclear explosion or an exploding oil platform. There's been so many machine guns in previous Bond films... Increasing violence since the 1970s... Skyfall was almost moderate... I don't get that criticism either... Ah, but they even handled that reasonably well; he's obviously not in a very good place during that scene, and he certainly doesn't look too happy to be drinking a Heineken. I agree with you in principle, though. You barely saw the beer! But anyway... We could complain about the use of product placement in Bond films in general. But Bond with Heineken is better than no Bond at all.
  12. Yes, but I wouldn't choose it over analogue all the time. But that's more because of my anti-digital stance in general. But it worked in the film, yes.
  13. There actually is more Newman in the score than it seems. The more I listen to the score, the more I notice how distinctively Newman it is. I already could name a couple of his other scores that pieces from "Skyfall" remind me of. One sounds a bit like "Angels in America", some sound similar to "The Adjustment Bureau", another almost sounds like "Lemony Snicket". And the strings on this score are fabulous, even if you hate everything else. "Jellyfish" and "She's Mine" do sound like Zimmer a lot. But it doesn't bother me that much. I can appreciate some Zimmer. But other pieces sound much more like him. And as much as some people hate this score, you can't deny the beauty of "Old Dog, New Tricks" (even if it did not end up in the film), "Close Shave", or "Skyfall". The score might have been better, as in coherence of style, but that's not his fault.
  14. No, he wouldn't. He just stated that he has been inspired by Herrmann. In 50 years Herrmann will be forgotten. You mean like Thomas Newman? I don't think you could compare Herrmann to John Williams, because their styles are so different. Williams is good at what he does, so was Herrmann. Obviously, John Williams' scores are easily accessible, but that doesn't mean a score that is not is bad.
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