Jump to content

Pieter Boelen

Members
  • Posts

    3,899
  • Joined

  • Last visited

  • Days Won

    2

Everything posted by Pieter Boelen

  1. "The Kraken" must be my least favourite one. That track sounds SO decidedly modern and un-piratey that it completely takes me out of the scene. It does work for the scene in a way, but the modern sound is beyond distracting: It is just plain horrible. That one track made me lose any real faith I might've had in Zimmer. Thankfully he redeemed himself somewhat with "Up Is Down", but then again came "I Don't Think Now Is the Best Time", which is a perfectly good action track, but NOT for a pirate movie. Especially not the first half of the track. The second half gets better and I find myself wishing it would continue and would get back to the level of "Up Is Down".
  2. In both cases the OSTs are pretty much lacking. The complete scores as intended are both absolutely awesome and I have not the faintest clue which I would choose. They're both very good indeed.
  3. "Up Is Down" is really quite nice. Would that qualify? I like it better than "I Don't Think Now Is the Best Time". I wished the entire final battle music was similar to "Up Is Down".
  4. Watching it again: You're right. Didn't recognize her at first.
  5. No real unreleased music, but only remixes? Who do they think they're kidding? I suppose they'll sell well, but really... *is annoyed*
  6. I recall Cate Blanchett not being in the wrap video. That's somewhat oddish, isn't it?
  7. I always did wonder why ToD was set as a prequel anyway. I think if it were set in 1937, the exact same film could play out without any conflicts with Raiders at all. One thing is for sure: I am pretty sure that when watching the Indy films in order, you are not meant to watch ToD first. This opposed to Star Wars where I-VI is a valid order.
  8. Is that true? That's brilliant and indeed awesome proof of movie music done right.
  9. Did you read the quote in my first post? "This will be an original score with new themes, played by the London Symphony Orchestra recorded at Abbey Road Studios. There will nothing “synth paddy” about it. It will be massive, thematic, and pulsing." That comment comes directly from the director, so I think it has some credibility. Personally I thought The Mummy Returns was an enjoyable film, but I find that it is especially the music that makes it good. The special effects are sometimes pretty bad. Especially the Scorpion King at the end. That must be the worst CGI I have ever seen. Usually I don't mind it when the effects are less than perfect, but that is just WRONG!
  10. I was wondering what you all think of the prospect of The Mummy 3 that is to be released somewhere halfway next year. I'll give the film the benefit of the doubt for now, even though they replaced Rachel Weisz and I heard bad things about the script. In theory it could be a good film, therefore I will consider it as such unless it is proven that it is not. I just found out that Randy Edelman is to write the score for the film: Source: http://robcohenthemummy.comThat's a shame. I would have absolutely loved Alan Silvestri to score it. His score for The Mummy Returns was absolutely awesome. Still it could be good.
  11. Thanks for the replies. The removal of the middle channal is a sound enough explanation.
  12. Could anyone post a transcript? I much prefer reading interviews over listening to them.
  13. There is a Dutch translation of a scene from Pirates of the Caribbean: Dead Man's Chest on Youtube: http://nl.youtube.com/watch?v=R8oDxizjsJo Does anyone know if this was actually officially released to cinemas or on DVD? I wonder because the Dutch dialog is there, but so is the music and the sound effects. It most likely is some sort of home-made translation, but if that is the case I want to know how they managed to replace the voices without losing the sound effects and music. Is it possible to somehow dial out the voices? Would it be possible to dial out sound effects as well, leaving only the music? Of course it isn't; otherwise we'd know about it. But I do wonder how they did it.
  14. Personally I find a lot of the older film music not quite as engaging as more modern music written since 1975 or so. With several of the old scores I like parts, some parts even very much, but not the whole thing so much. Examples would be Erich Wolfgang Korngold's pirate scores: I like the main themes, but I find the rest of the music to be less interesting than, for example, Cutthroat Island. Then I like the Main Title to How the West Was Won a lot, but I haven't heard anything quite as interesting in the rest of the score. This, of course, has to do with the style of the music and the style of the films in those days. Usually I find myself liking the main theme and the first tracks, but then I tend to somewhat lose interest. I wonder if that has to do with the fact that most of these films are hardly ever shown on television, nor are they readily available on DVD, so I have trouble understanding what film they were written for. I like to see the films music is written for, even if the film is not very good, just to get a better understanding for the music. But with these old scores I am virtually unable to do that, which is unfortunate.
  15. If the worst comes to the worst, at least the film will look cool. Now if we're lucky, we might get a somewhat decent story as well. Perhaps even the score would be good. You never know. It seems like the kind of movie that *could* be enjoyable. In theory. So I'll give it the benefit of the doubt.
  16. I won't deny that, but that doesn't stop me being interested. With some of the scores named as "great", I really have no idea what to like about them. However, obviously some people do and I'd like to find out what it is they like. Perhaps I'd like it as well once I know what it is.
  17. In the case of Jurassic Park, I at least want to have the End Credits at the end and the half end credits track that is at the end can be removed as far as I care.
  18. Complete releases with our without sound effects? I personally only know of incomplete releases and ones with sound effects, which are all made by people at home by using the DVD. Probably once the AWE DVD is released, you will also soon see a soundtrack with SFX floating around the net.
  19. With all my choices, I posted a short piece on why I chose what I chose. I would be very interested to see WHY you all like the composers and scores that you like. For the film scores I decided to only choose one score for any series. Also the "unhonourable mentions" for the composers and scores are not because they are bad per se, but because I find them tremendously frustrating. Film composers: 1. John Williams Simply the best beyond a shadow of a doubt. 2. Jerry Goldsmith Very different from John Williams, but very good indeed. Very good action music and amazing themes. Shame that there's sometimes annoying electronics and uninteresting tracks between the standout ones. 3. Basil Poledouris All historic, fantasy, action and adventure scores of his are great. Just about all tracks are enjoyable and there's some really good themes and action music and gorgeous music. 4. Alan Silvestri The good stuff is really good. He needs more big jobs. 5. James Newton Howard Amazingly good at writing scores that are very consistent in quality. Good themes and action music and beautiful music, but not much truly standout work. Everything is just about equally good. 6. John Debney When given big jobs, he can respond incredibly well. Unfortunately he isn't given many such jobs. His comedy scores are enjoyable, but ultimately forgettable. 7. David Arnold He simply isn't given enough to do. Independence Day, Stargate and Godzilla are all very good scores. The Musketeer is enjoyable as well. 8. Harry Gregson-Williams Can write good music, occasionally great music, but usually OK music. Shrek is fun, Sinbad and Kingdom of Heaven are brilliant, Chronicles of Narnia: The Witch the Lion and the Wardrobe is average. 9. James Horner He can write music that sounds pretty good, but the annoying things are really annoying: The "danger theme", the reuse of his own and other people's music and the too long tracks on the CDs. 10. Howard Shore The Lord of the Rings scores are a tremendous acchievement, though I have no interest in any of his other works. Honorable Mentions to: Brian Tyler Children of Dune has pretty good parts. I also like Timeline, though it becomes a bit repetitive and doesn't have the grandeur of Jerry Goldsmith's version. John Powell His themes are very good indeed. Edward Shearmur Sky Captain and the World of Tomorrow is a very enjoyable adventure score. Unhonourable Mentions to: Patrick Doyle Nothing of his that I have heard does the job for me. It's enjoyable and better than what most composers could come up with, but somehow it seems to me he keeps missing the ball. Hans Zimmer He CAN do it right. He JUST - WON'T - DO - IT! VERY frustrating. Even more frustrating than a composer who can't do it right, but tries, like Patrick Doyle. Klaus Badelt There's The Time Machine, which has an awesome first half. There is Pirates of the Caribbean: The Curse of the Black Pearl, which is wholly unoriginally, but a whole lot of fun. But now he just writes generic filler music. Film Scores: 1. Indiana Jones and the Raiders of the Lost Ark(John Williams) I just chose the first one here, because all of them are equally good and my preference varies from moment to moment. 2. Star Wars Episode V: The Empire Strikes Back (John Williams) I like it's thematic development better than A New Hope's. The Phantom Menace is also very good indeed. The others are somewhat less good, but still awesome. 3. Cutthroat Island (John Debney) Just plain awesome. Great from start till finish, each track being better than the one before it. Also it is what I like to call "seaworthy" music, which can only be a good thing. 4. The Mummy Returns (Alan Silvestri) Great music. I like it better than Back to the Future, which has a great main theme and good music for the rest. 5. Independence Day (David Arnold) Good themes (though not as good as Stargate), nice thematic devlopment and lots of great action music, beautiful music and patriottic music. 6. First Knight (Jerry Goldsmith) I like the thematic development, the use of choir and the action music. Especially some of the officially unreleased tracks are brilliant. Most other Jerry Goldsmith scores have got a few amazing tracks surrounded by many good ones. 7. Starship Troopers (Basil Poledouris) Just to say something different than Conan the Barbarian. The action music here is great. I also really like the Flesh & Blood action music, main title and end title. 8. Atlantis: The Lost Empire (James Newton Howard) Hard to choose here, because all scores I have of his are just about equally good. Excellent themes, great action music, beautiful music. I chose this one because it has a nice sense of adventure and the beautiful Atlantis music. 9. Mutiny on the Bounty (Bronislau Kaper) The first three tracks are sheer brilliance. The rest of it is also very good. Good dramatic music, beautiful romantic music and greatly incorporated Tahitian music. 10. Sinbad: Legend of the Seven Seas (Harry Gregson-Williams) Very good thematic development, very dramatic music at the end and a lot of swashbuckling fun. Honorable Mentions to: Harry Potter and the Prisoner of Azkaban (John Williams) I just have to mention Harry Potter. I choose film 3 today because it shows that John Williams is capable of going in a different direction while remaining true to the series and delivering something very different, though equally good to the original. Also it completely saved the film. Lair (John Debney) It's only very new, but it's worthy of mention because it has lots of very good themes, lots of very good action music and a completely awesome finale. The Mask of Zorro (James Horner) Interesting merge of Spanish flavours in the music. Catchy opening and very good action music. Though I like the finale action track from The Legend of Zorro better. I am not usually very impressed with James Horner, but it seems he had a lot of fun with this one and it shows. Unhonourable Mentions to: Harry Potter and the Goblet of Fire (Patrick Doyle) Really so much worse than John Williams' work. I almost fell asleep during the Voldemort cue. That is a bad sign. A very bad one. Pirates of the Caribbean: Dead Man's Chest (Hans Zimmer) Jack Sparrow's new theme is great fun. Davy Jones' theme is pretty good. But then tracks like The Kraken really ruin it for me ("biker gang"? We're doing a PIRATE movie here, for crying out loud!!!). Also the overly dramatic finale music with the low male choir is SO not piratey! The Legend of Zorro (James Horner) It's good fun when taken on its own. And the track The Train is very good. But there's just too much repetition of old material here. I really hate it when cues, rather than themes, are reused in scores, even when it concerns new orchestrations of those old cues. This also plagues Pirates of the Caribbean: Dead Man's Chest and partly Pirates of the Caribbean: At World's End, though the latter is much more original and interesting.
  20. David Arnold for Narnia 3? That sounds pretty good. Where did that come from?
  21. I'll vote for Raiders of the Lost Ark. But that's only because I like Indiana Jones more than Star Wars and because it's the first score of the series. Otherwise choosing between Empire Strikes Back, Raiders of the Lost Ark, Temple of Doom and Last Crusade is pretty much impossible.
  22. Like I said before: Cutthroat Island can compete with the better John Williams scores. I will not say it IS better - I'll let that up to yourself to decide - but it sure is close.
  23. Perhaps. It's a matter of personal taste, I suppose. But Cutthroat Island has MORE excellent pirate music than Hook.
×
×
  • Create New...

Important Information

By using this site, you agree to our Guidelines.