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thestat

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  1. Christopher Young: Empty Man. So meaningful, sad, hopeful, astonishing, mesmerising. Young:
  2. Kamen's the Flight on the Wing stuff is. Don Davis being called to the rescue .
  3. Goldsmith's score to Basic Instinct is very likely the greatest score of all time. Everyone homages the score 30 years later, it stands technological time, it's a testament to a by-gone age, but it's orchestral acrobatics and synth modulations transcend time, making it sound like a masterwork that everyone knows nowadays, but which sets the standards for film music. Does a score comment or participate? Does a score reveal or enhance the narrative? Jerry did this.
  4. Powell composed a score that fit the film. End of story Sad that he is not using his talent eslewhere but this is not the space.
  5. Is there a track from this score one could listen to? Or is it like a lot of the Kamen expansions - the less you hear, the more likely you are to buy? Or the more you hear, the less likely you are to buy......Outside of the few gems, Kamen isn't exactly an orchestral connoseur's delight.
  6. This is amazing, but it would help if you laid out what the material is. Is this alternative or rejected score, or something else? I am missing the context for these videos, and apologies if they are somewhere obvious.
  7. Slightly surprised why everyone is surprised. Tyler was the film music bad boy in the early 2000s but since at least Guardians, he is what-he-is: I'm sure Timothy Williams has much to do with the lush sound of Pearl, but this has been a Bates thing for a long time, going back to his Silvestri homage for Gunn's Sliver. Let the guy be. Considering rock/pop stars and orchestral integration, the Don Davis / Juno Reactor stuff is legendary, and perhaps never to be beaten:
  8. This is the last great Silvestri. It sounds inspired (even though he is playing in his own field). The dynamics are innovative and there is that exuberance that late 80s and early 90s Silvestri had. And man, Silvestri does not get any better than this wonderchest:
  9. Lair is truly great - a massive piece of work by Debney and Kaska. Epic in all the right ways. I do have a soft spot for Debney - his work on Hocus Pocus, Cutthroat Island, Sudden Death etc were a fantastic breakout for him in the early 1990s. He is, like McNeely, a master of all trades and perhaps that is why McFarlane likes them. I do have a slight tingling in my throat about his work with Gibson and his support for the military but hey ho.
  10. The show's not bad - the score again plays to Djawadi's strengths and weaknesses. He can draft a memorable theme and some great moments, but - oh boy - is he terrible at SCORING. He, or his team, just can't do anything beyond ostinatos for scenes with dynamic action. It works okay here as it does in GOT where the music is minimal and percussion-based, but anything with dynamic integration with music and on-screen action seems a no-no. Or perhaps that is some silly 'intellectual' choice he has made but it does not help scenes where stuff actually happens (like the GOT white walker battle which had disastrously bad scoring). Same points apply to Eternals - a brilliant theme, but just terrible incidental scoring.
  11. Yes, somewhat disappointed in this - it just seems to tread its tracks for the first few episodes. Is it edgy? Maybe. Is it engaging? No. I have no idea what the purpose of any of this stuff is (and not that interested in rewatching Rogue One). Character building - definitely. Interesting characters - not sure. Britell's score works okay for what the show is but it's a shame that it's so non-descript. Just anonymous stuff and the rock drums ding-dong in episode 2 seems (is?) like an intro into an early 90s banger track from a sub-Seattle grunge group
  12. Love Shirley Walker's stuff, but can't understand her themes......the Batman theme in what is an otherwise spectacular score (Mask of the Phantasm) is just not right. She is a brilliant composer but her themes are always off, somehow. Can't explain it: Like in this one: brilliant orchestration, but the theme just sucks (for all you post-2000s kiddos, yes, we used to evaluate the veracity of melodies, not focus on production standards):
  13. Just astonishing orchestral mayhem and a crime that Stone never became a household name: Another underappreciated maestro Mark McKenzie - at least Jerry recognised his talents, but not sure fans have sufficiently:
  14. Conti's Lock Up has this all-time champ of an orchestral action stallion that should be on everyone's radar - One of the best bits of muscle mayhem Conti's come up with, for such a truly terrible/awesome waste of a film (Sutherland!)
  15. Shearmur is such an unfortunate casuality of the Hollywood system - clearly someone who could do absolutely anything, from newage-y stuff to Korngoldian swashbuckling. Not sure why his career never truly took off - he was more or less in the same 'class' as Gia but MG managed to build a relationship with JJ Abrams and Brad Bird whereas Shearmur was fraternising with .... not them. This track from Monte might remind some of a much more infamous composition that came a year later and took the world by storm:
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