TimeAfterTime

I quite like some of the more quiet tracks.

The 'Final Game' from Rudy when Rudy sacks the quarterback. The whole score to Empire Strike Back. Main Title to Air Force One. Anytime I see Rachel Weisz coming out of her dress.

Fly away, fly as far away from this signing as you can. I'll be signing my underwear at Virgin Megastore in Times Square on March 19 if anyone is interested.

If only I lived in Los Angeles...

The concert should be sweet. I live a 10 minute subway ride from the concert!

You should check out 'Hulkster's In The House', sung by Hulk Hogan himself. Wow, god awful, and god awesome.

Well that's a bit unkind. Perhaps it is unkind, but it just gets under my skin when mediocraty is rewarded. I've seen most of the movies that he has composed music for, and I just think he has no idea what he's doing when composing film music. He's a kind of John Barry without the composition chops or charm, he just plays over scenes often oblivious to what's going on in the movie.

Yeah, I suppose it can restrict the music in a very specific way, but after the picture is edited the composer at least has the option to mickey mouse it, play a couterpoint to the picture or any other technique at their disposal. When a composer understands the art of scoring I would much rather have them composing in post-production than pre-production. But when your name is Gustavo Santoalla, it doesn't matter when composition takes place because the score will always be atrocious. The beginning of The Sum of All Fears plays a beautiful counterpoint to the picture with the aria over the potential of a military born nuclear holocaust. Goldsmith was a master at playing the points of the picture that weren't obvious. I also liked that way Williams played over A.I. There was a very enjoyable attention to the greater arc of the film.

Yes, these go against it, for me anyway. While the music was effective in most of your examples, it is impossible for the music to truly follow the development of the film if the score is not conceived after the film is developed and edited. Effective post production editing of the film TO the music can mimimize this issue of course, especially if the pre-composed music generally fits the mood of the picture. But for me, a film score must come after the editing to as to reflect the picture, not lead it. Ehh, just my thoughts on the matter.

Which means, for me, that it's not even a film score. Completing most of a score before the director even puts his stamp on the picture goes against everything a film score is supposed to represent.

If you're really interested in the Peter Pan score, Amazon could ship it to you for 22$ cdn, shipping included. I'd actually have to ship it to you through my own account from the US to get this deal, but it is better than the 26$ cdn you quoted earlier...just a thought.

Can't you but this off of amazon.com for $14? Or are you referring to some special disc that I'm not aware of?

I'm waiting for the punchline... So am I.

I found myself wanting to vomit as I heard the music to this movie. I have seen almost all of the movies that Gregson-Williams has scored. In each instance, without hesitation, I feel that his music makes the movie worse. Not to mention I can't stand the music as a standalone entity.

I'm partial to The Fugitive and Waterworld.