Pieter Boelen

Yeah; Sorry for that. The latest I heard on the issue is that it should be up and running again in a couple of days. I don't really dare hoping for it though.

You're right. But I would've liked if it WAS a movie about the sea. That was the one thing I didn't like about that whole movie: Although it did play out at sea, it didn't really have much to do with the sea. If I had made that movie, I would've shown a lot more of the goings-on at the bridge and much less of the love story. I still don't understand what business a love story has in the story of the sinking of the Titanic. I would've thought the movie should've been about the Titanic and it's sinking. But that's just me, I suppose.

I don't mean "swashbuckling". I mean "seaworthy". I don't think the main theme for Mutiny on the Bounty is swashbuckling per se, but it sure IS "seaworthy". You are right that swashbuckling music would not fit in Titanic. But some "seaworthy" music for the sailing-around-on-the-ocean shots sure would've been nice.

Horror: Hans Zimmer Reason: I don't care about horror films and I don't care about Hans Zimmer either With his usual MV music, he can probably make any good horror film extremely not-scary, which is exactly how I like my horror films Drama: Howard Shore Reason: I only ever heard LotR of his, but it seems to me it is more like dramatic music than fantasy music Modern Action: Jerry Goldsmith Reason: Jerry Goldsmith is very good at writing action music for modern action films, such as Air Force One Fun Seek-the-treasure Adventure: John Williams Reason: INDIANA JONES! Pirate Film: Alan Silvestri Reason: Bring us Silvestri's PotC!!! Epic Historical Adventure: Basil Poledouris Reason: Conan, Flesh & Blood, need I say more? Sci-Fi: David Arnold Reason: Is pretty good at writing Sci-Fi music, such as for Stargate and Independence Day Comedy: John Debney Reason: He writes music for comedies all the time. Though I would prefer to hire him for an action film with occasional comedy Mystery: Harry Gregson-Williams Reason: Let's give him something new to do Romance: James Horner Reason: I don't care about romantic films and I don't care about James Horner either. His music does sound very romantic most of the time, so he'd probably be quite able to to it Fantasy: James Newton Howard Reason: Although he hasn't yet scored a big fantasy movie such as Harry Potter or Narnia, I'm sure he would do a great job at it

I don't know about Titanic; I am not thoroughly impressed with that music. Seems too new-age for my taste. But the worst thing about that music is that it simply doesn't sound "seaworthy". Although one could argue that the Titanic herself wasn't seaworthy either, considering that she sank."Seaworthyness" is a bit of an odd concept that I have made up myself. It is a bit hard to explain, but it is something that is found in Cutthroat Island and especially in Bronislau Kaper's Mutiny on the Bounty. It is also found in the second half of Jaws and occasionally in Hook. It is even found in some parts of the first Pirates of the Caribbean, although to a much lesser extent. But the scene where Jack and Will escape from Port Royal in the HMS Interceptor certainly does have some "seaworthy" quality. I can do nothing but agree with you on that one. I absolutely love the score to Cutthroat Island. All I meant is that I would very much like to hear what John Williams would come up with for such a film. But one thing is for certain: There is nothing wrong with the score Cutthroat Island already has and it certainly doesn't need replacing in any way. I would also very much like to hear what Alan Silvestri would've come up with for PotC. I think that he would have made those films much more better, as Captain Jack would say. Perhaps Alan Silvestri might even have written a better and/or more appropriate score for those films than John Williams would have done. But I'll never know unless they BOTH rescore the film(s). Which I wouldn't mind them doing, actually. What I would like best is simply to have more "seaworthy" music. There is far too few of it as far as I'm concerned. I absolutely love the sea and sailing (that's why I will be doing just that in February), so more is always better in my opinion. If anyone has some recommendations on possible "seaworthy" music that I am missing out on, please PM me the title of the score(s) so that this thread won't go off-topic any further.

As far as I'm concerned: Any film that calls for good seafaring/piratey music. Examples would be Pirates of the Caribbean, Cutthroat Island and perhaps even Titanic.

An meant an all-out pirate movie; not a movie with piratey elements. But as long as John Williams doesn't score an all-out pirate movie, at least we do have Hook and the second half of Jaws. Which is pretty darn good piratey music anyway.

I notice Cutthroat Island is not on that list. I personally love that score and I don't think it needs to be rescored at all, but I would still like to hear John Williams' music for a pirate movie.

Although I do prefer John Williams' style, I agree that Jerry Goldsmith is about just as good a composer as Williams is.

Although PoA might not be very thematically consistant with PS and CoS, it's still an amazing and magical score that sounds every bit like a Harry Potter score should sound. GoF does not. It is an unremarkable score in every respect. Even the infrequent use of Hedwig's Theme doesn't make it a Harry Potter score. The main thing I have against GoF is that it is mainly underscore that does support the film in some ways, but doesn't make for an impressive listening experience on CD at all. What I like about John Williams' Harry Potter scores is that they tell the story without having any need for the film at all. Though when attached to the films they were written for, it still works wonders. What I noticed is that PoA's finale is much, much more impressive than the GoF finale. PoA's finale is absolutely spine-chilling, while I almost fell asleep during GoF's Voldemort cue. Considering that GoF's finale is supposed to be more important, dark and impressive than the PoA finale, something must have gone wrong somewhere. I think that if they would have pasted the PoA finale music in GoF, it might actually have worked better than the music that is in there now. And that is coming from someone who highly dislikes using music in films they weren't written for!

1970's: Star Wars Episode IV: A New Hope & Jaws 1980's: Star Wars Episode V: The Empire Strikes Back & Indiana Jones and the Last Crusade 1990's: Hook & Star Wars Episode I: The Phantom Menace 2000's: Harry Potter and the Philosopher's Stone & Harry Potter and the Prisoner of Azkaban

Jerry Goldsmith score: First Knight, Mulan Jerry Goldsmith theme: The Edge, Star Trek Jerry Goldsmith cue/track: The Hijacking (Air Force One), Ambush (Bad Girls), The Fire Dragon (The 13th Warrior), Final Flight (Star Trek: Nemesis), Prepare for Battle/Victory For Us (Timeline) Jerry Goldsmith album: King Solomon's Mines Film scored by Jerry Goldsmith: Mulan, The Mummy

Harry Potter and the Goblet of Fire beyond any doubt. That SHOULD have had a John Williams score, while the other ones I have no interest in whatsoever.

They did? They still did use miniatures for Star Wars Episode III.

4. They shouldn't really have to since they've said they're trying to go for as little CG as possibleDidn't ILM do the non-CGI special effects on the original Indiana Jones films? ILM doesn't nescessarily mean CGI, does it? :?

I have the DVD, but it takes a long time to figure everything out. Time I don't have.

I have the OST and the "Complete Recordings", but I want to edit them together into an extended version with no SFX. However, the Complete Recording tracks are mislabeled and in the wrong order, so that it is quite hard to figure out what goes where. Would anyone be willing to help with that for a bit?

That is very well said. You convinced me.

I am not joking at all. I was pretty surprised when I noticed it myself. I seriously doubt he actually IS talking Dutch as well, but he does sound like it. :?

I have watched them all quite some time ago, but I recall John Williams was mentioned in just about all commentaries. Not that much was actually said about him. The only specific mention I remember is in the Episode III commentary when Obi-Wan is walking around Utapau to find Girevous. I can't say I was all too impressed with that mention.

1. Lady in the Water (James Newton Howard) 2. Night at the Museum (Alan Silvestri) 3. X-Men 3: The Last Stand (John Powell) 4. ??? 5. ???

Not? You should check it. It's really obvious once you notice it.

That might very well be so. I just mean to say that I personally find the music in films much more important than the sound effects. Sure the sound effects are important and good sound effects can help a film to be good, of course. Star Wars without the lightsaber sound effects would just not be right. But I personally think that a film with no sound effects would work better than a film without the music.

Talking about weird lines in films: Have you noticed in Indiana Jones and the Temple of Doom when Short Round says in Dutch "Ga uit de weg!" (="Get out of the way!") during the Shanghai chase? He says this while motioning to the two characters in the riksha to get out of the way. I find this highly amusing, because it seems like he really does say "Ga uit de weg!", because it makes complete sense in the scene. Apart from the fact that it's Dutch. :roll:

Considering that good film music, like John Williams', can amount up to 75% or more of the viewing experience of a film in my opinion, we'd get a total of over 100%. :roll:I personally think that the music is much more important than the sound effects. The sound effects just need to be there because it would detract from the viewing experience if they wouldn't be there because something would be missing. On the other hand, having no or bad music can render complete scenes or even movies useless. The sound effects aren't used for telling the story, nor are they very nescessary for increasing the drama or exitement. But the music is very much required to tell the story and heighten the drama and exitement. In a lot of films: Remove the music and you have hardly anything worth watching left.