Mr. Who

My covers for The Hateful Eight:
The Hateful Eight by Ennio Morricone by hahah123 Covers, on Flickr
The Hateful Eight by Ennio Morricone by hahah123 Covers, on Flickr
The Hateful Eight by Ennio Morricone by hahah123 Covers, on Flickr
The Hateful Eight by Ennio Morricone by hahah123 Covers, on Flickr

Thanks!
Check my flickr page. Go to albums and Marvel Scores and there should be a few other covers! I will add a few for the earlier movies later!
https://www.flickr.com/photos/162181720@N04/albums/72157703885095835
 
https://www.flickr.com/photos/162181720@N04/
 

A few marvel covers:
Avengers: Infinity War by Alan Silvestri by hahah123 Covers, on Flickr
Captain Marvel by Pinar Toprak by hahah123 Covers, on Flickr
Doctor Strange by Michael Giacchino by hahah123 Covers, on Flickr
 

This should have been the official cover art on the LLL set. No idea why they went with the OST art for III while I and II got different key art from the OSTs.

My cover for Far and Away:
Far and Away by John Williams by hahah123 Covers, on Flickr
Far And Away by John Williams (without border) by hahah123 Covers, on Flickr

My covers for The Hateful Eight:
The Hateful Eight by Ennio Morricone by hahah123 Covers, on Flickr
The Hateful Eight by Ennio Morricone by hahah123 Covers, on Flickr
The Hateful Eight by Ennio Morricone by hahah123 Covers, on Flickr
The Hateful Eight by Ennio Morricone by hahah123 Covers, on Flickr

A few covers I made some time ago:
Captain Marvel by Pinar Toprak by hahah123 Covers, on Flickr
Captain Marvel by Pinar Toprak by hahah123 Covers, on Flickr
Captain Marvel by Pinar Toprak by hahah123 Covers, on Flickr

A few covers I made some time ago:
Captain Marvel by Pinar Toprak by hahah123 Covers, on Flickr
Captain Marvel by Pinar Toprak by hahah123 Covers, on Flickr
Captain Marvel by Pinar Toprak by hahah123 Covers, on Flickr

Not bad. Good 6 notes theme at the end, I expect more development in the score.
 
Here an interview (Superman inside) form the carpet red:
 
I made some covers...
 


 

Underrated gem, that one.
 
Might as well add V for Vendetta to the list, while we're at it.

I don't think she said this. She said she wanted more diversity in the press reviewing the movie.

I don't think she said this. She said she wanted more diversity in the press reviewing the movie.

That would be Attack on he Bivouac

In a hundred years, nobody is going to know who Ennio Morricone is.  In a hundred years, John Williams will still be performed regularly.

I know Spectre wasn't that well received but honestly, it's my favorite Bond movie.

"Do me a favour, will you? Pour that down the toilet: cut out the middle-man".
That's probably my favourite line, in SPECTRE.

Well, I can't really agree with this.  
 
What you're describing is simply the price of using these wonderful new tools which enable composers to do exactly what you're doing, display their abilities on their own terms without needing to rely on a musician or musicians to champion their work, or to demonstrate material during the process of making a film or video game or what have you.  Or, on low budget productions, to provide a virtual score without real players.  Like anything else with music, this part of the process takes time.  It takes even more time, and can be frustrating, if you write on paper first, and then have to perform the music in, as you describe.  Even writing in a notation program has similar annoyances, since importing score data into a sequencer still leaves you with zero expression or articulation changes, etc.  That's how I do it, handwritten sketches, then a virtual performance.  It's a big time investment, but it's just part of it.  Set a core template up once, and you no longer have to worry about balancing each instrument, setting reverb, positioning, all that.  Just add or subtract whatever is necessary as appropriate from project to project, but at least you're not starting from nothing every time.  And also, make keyswitched instruments.  It's better than having tons of articulations on separate tracks, unless there are egregious mixing needs between, say, a stupidly loud staccato patch and a legato one.  
 
But you know what?  I'll take this even farther.  Computers would make my life as a composer even easier if I could totally ditch the paper altogether.  I know people who work this way.  They plan their music out meticulously, mostly in their head, and then go into their sequencer, with their ensemble already set up perfectly, and they play in each part according to their plan, laying down the core foreground material as a foundation, then everything else happens.  And they're not writing anything down other than key thematic ideas in the planning phase.  The composing is happening in real time, sometimes with the first pass being kept - composition by improvisation.  Other times, things are redone, just as you might write something down and then erase it and rewrite it several times.  And no amount of complexity of writing nor of orchestration is lost in this.  The most fluid and intuitively composed music I hear regularly is a result of this process.  Afterwards, it's a simple matter of transcription, which gets easier by the day as the notational abilities of sequencers are improved, to create a score if one is needed for the real players.  Getting it down on paper is just an afterthought, as it should be.  Yeah, I wish I could do that.  But I can't balance like that, holding things in my head, working purely by sound and not worrying about the notational representation of what I'm doing.  I can't even keep simple chordal passages clear enough in my head to work out the right division of parts between the strings, for example.  I have to write that down and see it to play it.  Notation is, for me, something of a creative prison.  It reduces a medium of sound to graphical representation and the inner ear, neither of which will ever be as good as sound itself manipulated in real time.  I am fascinated by the people who are able to do this, who are one with the machine.  I'm trying to get better at it.
 
Here's an interesting question.  If some technology existed to directly channel the activity of one's brain, would some of you purists consider it a lazy shortcut to have this technology extract directly from your imagination the music that you've thought up?

That Mancini fella knew how to score a film!

Disappointing but not surprising list. JNH should have been nominated.

I actually just got a letter from PostNord that said that I could pick it up at my local post office! Will hopefully have time to get it tomorrow!

I have it! Finely after 1,5 month I can now listen to the complete score from some of my favorite scores. 

Congratulations, Swedish Customs!
And you of course, oh chiefest and greatest of calamities, enjoy!

Finally getting to listen to these on my new Hi-Fi system instead of using the PC. My living room seems to have been turned in to the recording stage and I'm loving it! Not sure my neighbours will agree though

A cover I made:
Apollo 13 by James Horner by hahah123 Covers, on Flickr