Gnome in Plaid

So, I was originally going to come here to ask about some of the underlying "harmonic bed" in "Coffey on the Mile" from The Green Mile, but the album credits seemed to answer my question (bowed travelling guitar, saz, solo violin, some synths, and bowed dulcimer). Those same credits gave me a new question: what the hell is a tonut?

Young's score is remarkable, and Thomas Haden Church was quite good. Other than that, it's really a bad movie.

So, I've been trying to get an answer to this for a while, but haven't had any luck. In a very touching scene the film Fences, a sound (spoiler for the film) I've heard a few times elsewhere, mainly in a jazz context. One example in particular comes to mind: In Kaze's "Triangle" prominently from 6:32-6:42 and 16:33-17:07. Is there a name in trumpet technique for this? Obviously the Fences clip isn't intentional in-character, but there would have had to have been a way to communicate that sound to the trumpet performer, and the Kaze clip is obviously intended. How is this sound produced, and how might I notate it?

What about that ill-fated cat from Christmas Vacation?

This is a good thread!

I don't think I'm knowledgeable enough to go early than the 70s, but here are my lists: 1970s Alien Apocalypse Now Five Easy Pieces The Godfather The Godfather Part 2 Jaws Patton Star Wars Taxi Driver The Wicker Man 1980s The Blues Brothers Brazil Broadcast News Empire of the Sun The Empire Strikes Back Ferris Bueller's Day Off The Mosquito Coast Raging Bull Raiders of the Lost Ark The Shining 1990s American History X Apollo 13 Cobb The Green Mile Heat Home Alone Pulp Fiction The Big Lebowski The Silence of the Lambs Unforgiven 2000s American Gangster Finding Nemo Frost/Nixon The Fountain The Hours Kingdom of Heaven The Lord of the Rings (considered as one film) Michael Clayton Sahara (added as an 11th- a little guilty pleasure there) Synecdoche, New York The Wrestler 2010s Arrival Birdman First Reformed Lady Bird Lincoln Loving Vincent Manuscripts Don't Burn Prisoners Silence Whiplash

Damn... that's pretty much the perfect way of putting exactly what I wanted to say Thoroughbreds?

Whatever you think of the score itself, the sound is absolutely incredible.

For film, The Silence of the Lambs, easily. It's simply a phenomenal, iconic film. Se7en was also very good, but it was frankly too brutal for my tastes. For score, it's a tougher decision. I actually listen to Silence pretty frequently, and the new complete release is done really well. Clarice's theme is just one of those elemental melodies you can't forget. The one drawback for me is the middle section of the cellar cue. The synths are really out-of-place with the otherwise organic sound of the score. I wonder how Shore would have approached that scene a little later in his career after developing his aleatoric manifesto. Se7en, though, damn... It's Shore at his absolute darkest (well, along with Panic Room). "Wrath" is a nightmare expressed in five minutes. It's musically more interesting than Silence, but I definitely get more out of the earlier score.

I dare you to find a better-sounding recording than Amistad, in any genre.

Check out his incredible score for War of the Vendée. It's quite Williamsesque, but never descends to the level of pastiche. A couple of his tone poems also sound just like they could have been unused music from the prequels.

How much did Conrad Pope contribute to Mortal Engines?

Oh baby. The finale with the contrasting strings and guitar/synth? just fascinates me.

I Am the Senate is a pretty strong contender.

Deliverer of the greatest one-liner in Bond history:

Ah, that's the one I meant to ask about.

I'm not sure how to name this progression from 1:30-1:41 (what even is that first chord?), but damn do I love it.

As much as Highland pipes would be more ethnically appropriate, Uilleann pipes are far more versatile. Horror stories? I thought the rhaita was recorded separately... Anyway, as someone who's slowly learning to play the rhaita, I'd love to hear those horror stories.

It frustrates me because these are resources and talents that could be put toward more worthwhile projects instead of corporate-managed algorithmic schlock.

Redacted? Aww, I just re-watched Interstellar and wanted to come back to read this again. Anyway, since this seems to be the closest to an "Interstellar score thread" I've got a question. Supposedly steel guitar is prominent enough that the soloist earned an end crawl credit, but where in the score is that actually audible? I'm guessing the stuff like the higher drone in "Dust Storm" might be a steel played with an e-bow, but Occam's Razor would tell you that's a synth pad. Anyone know where a pedal steel might be clearly heard? Do the live concerts give any clues?

Yeah... I have to say that's one of the very few Shore efforts I can't get anything out of. It's basically "Rising Chords of Doom: The Score." I did read something interesting about the way it was produced though, that they close-micd and amplified the quieter sections playing quietly, and muffled anything loud, so it's basically inverting the volume of the orchestra. Actually, I'll admit have a bit of a fondness for the track "It Neural-Surged" since it was a temp track for an abandoned project I was working on.

Dawning - Dawning is an expertly crafted psychological horror film on a punishingly small scale. Two (not especially close) siblings, Aurora and Chris, join their estranged father and despised stepmother at their remote cabin in the woods, and from the moment the meet, the familial tension is palpable even while they remain amicable. The facade begins to crack when Aurora's dog is found gored and the father decides to euthanize it, followed shortly thereafter by the terrifying arrival of a home-invading, wild-eyed, bloody man who overpowers the family (importantly, a stoned Chris who couldn't bring himself to shoot the man). The man, though, claims to be helping them. "It" killed his girlfriend out in the woods, and he's desperately seeking shelter from this malign entity (although assures them they'll be safe at daybreak). As the family members debate how to handle the situation (particularly whether there is an evil presence in the woods), the fundamentally unstable natures of their relationships become painfully clear, and by zeroing in on their terror, the film never provides any hints as to what truly is happening to them. The scale of the film is remarkably compact: the cast consists of five members total, and the entire plot unfolds at one cabin and its immediate surroundings over the course of a single night. Most films would buckle under such tight constraints, but director Gregg Holtgrewe and his cast (of whom David Coral is particularly notable) adeptly mold that closeness into claustrophobia. A major contributor to that claustrophobia is Nathaniel Levisay's sparsely spotted but devastatingly effective score that often sounds like something you'd find on ScoreFollower. Loaded with extended techniques (I can't actually identify some of them), clusters, and aleatoric desynchronization, the music is perfectly nasty without giving into the cheap stock sounds lesser composers might employ.

I'd love to see American Gangster done properly, but I think there's not much chance of that any time soon.

2005 was ridiculous: Revenge of the Sith Memoirs of a Geisha Munich War of the Worlds Sahara Doom A History of Violence Kingdom of Heaven The Lion, the Witch, and the Wardrobe The Roost The Chumscrubber King Kong Syriana Hostage The Exorcism of Emily Rose Wolf Creek I'm probably even leaving something out.

Wasn't that Naked Lunch?