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Everything posted by TheHouseholdCat

  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 a
  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.
  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 ge
  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
  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.
  15. Not asked to do that? I don't think you would have to ask for example John Williams to write a theme for a new Star Wars movie. You would think it is a given. "Because he doesn't answer to people on film music message boards. He answered to Mendes and the Broccolis."
  16. That's because he likes to include non-traditional elements in his scores, even if it may be irritating if you're not used to it. He thinks more in terms of color than what associations come along. It may probably be not that appropriate to use those instruments in an English setting in the film, but there he pulled back a bit. It's not that ethnic... He's also not that much into melody. He's always been more into rhythms and colors. He could have written a theme, but maybe he wasn't asked to do that.
  17. OK, now after having seen the film - I still haven't actually realized that I did finally see it - I have to say: The score had some great moments and now that I am listening to it again, it's starting to grow on me.
  18. That's exactly the idea I got from the trailers and video blogs. I didn't expect something like Live and Let Die. The white cat is a bit outdated anyway. Skyfall, as much as any other Bond, is a product of its time. That's pretty likely, considering that the film already was an inspiration for Skyfall. Then the score was probably also inspired by that. The Nolan Batman films, especially The Dark Knight, also have a rather dark mood. OHMSS is also a very fun movie - if not one of the funniest. It still has some British humour in it, opposed to the Moore 80s action era. Then the appeal was kin
  19. I can tell, we're running out of steam here... I still have a couple of days until I can see the film. I'm curious how it will have turned out. Even David Arnold (who is not seen as an authority in any way on this forum, but I may mention it anyway) says that you shouldn't judge the score before you've seen how it works in the film. But well...
  20. It's more of a case of a composer getting through to you. I listen to Newman exclusively because it's enough for me. I couldn't really get a picture of a composer's work if I listened to a dozen other composers at the same time. I would never try to make myself like a composer. I just try to be fair in judging other composers. I can't think of another composer like Thomas Newman. He's not part of a scene or something. I couldn't even say where I'd position him in the film music universe. And convention for me usually is a bad thing. Hans Zimmer sometimes sounds too similar, but that's probably
  21. Well, Newman hardly ever writes themes in the same way that, say, John Williams does. It's just a different approach. Personally, I prefer the more experimental stuff that Newman has done. I don't dislike his orchestral scores, but I can't listen to Meet Joe Black that often because it's less exciting than the American Beauty score. Like I prefer a film like White Oleander to a film like Titanic, if that makes sense.
  22. Some people hate Arnold, some people hate Newman. I don't feel I hate any composer, but there's a couple of directors whose films I could live without.
  23. Depends on how one defines "fluid". It's a weird word to describe his music anyway. "not fluid" as in "not smooth enough". Or just bad. Elfman has edge.
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