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.

Sucks, not surprising though. Between Spielberg's time off, George Lucas' galaxy encompassing ego and Harrison Ford rapidly approaching 100 years old, we might not ever see the 4th installment. Perhaps it's better this way, Connery brought a certain class and pinoche that won't be surpassed.

I really like him on The Daily Show, but I was disgusted by how much he bowed to the wills of the Academy. It was so watered down. How can you balme the guy though, I'm sure he just wanted to impress his bosses for a potential next year gig.

The Sand Pebbles and Papillon. Bad ass.

While I think the loss has something to do with the split vote issue, I think liberal Hollywood is much more responsible for the outcome than anything else. Ehh, you win some you lose some.

Does anyone in this forum know much about the Henry Mancini Institute in Los Angeles? Dees anyone know someone that has attended? I've been reading a bit about it recently, it seems like a cool place to hang for the summer. We don't have a program like that in New York, at least not yet.

Yeah, that sucks.

Very true, and good observation. It makes you think that they know the winners far before the date they claim. Does anyone remember back in the day when Horner for Braveheart was up against Luis Bacalov for Il Postino? I thought that Braveheart was a shoe in, as many critics and professionals did. The ceremony was messed up as all hell, as I remember the presenter coming out and about to read the nominees, but instead went backstage quickly and brought out what looked like a different award card. Anyhow, the winner was Il Postino, and there was a bit of controversy that I read afterwards. Anyhow, the point is that the Academy is a bunch of sneaky little bastards.

I was surprised that Brokeback even made it to the nomination list, as there were only the infamous 13 minutes of music. I'm only saying this because this is the precise reason why the music people in the Academy blocked Howard Shores nomination for The Aviator (there was shit length for music in that film). They should have blocked the Brokeback nomination as well, but from what I heard from some recording engineer buddies out in LA is that the Academy board members actually lobbied to the musicians to let the score in. Who knows if this is 100% true, but even if it is only partially true, then the music branch just lost all objectivity (if this is truly the first time they have buckeld under the pressure) and prove that nobody can stop the all powerful Liberal Hollywood Train. "All aboard! Non-stop service to Bend Over And Take It the Hard Way City. And for your listening enjoyment, the worst music written in the year 2005!"

I'm not sure I would call the Oscars a bunch of crap, but I agree that original score is, to some degree, a token category. However, it has been like that for quite a long time. Both Goldsmith and Williams have been snubbed over and over, dating all the way back to the 1960's, by far inferior scores set to popular pictures. Ehh, that's the politics of it. Music as high art will never exist in film, especially as it applies to the award processes.

I like all of the performances on there except for Raiders March. It's an all around bad ass disc though.