thestat

Arnold's score is totally brilliant - White Knight is an amazing kickstarter. His goofy personality (met him at one of the awesome FoFM sessions) is so different from his sheer professionalism and outright excellence in his orchestral work - see anything by him in the 1990s. He was totally at the top of his profession but it is my understanding that descaling his work is a very conscious decision based on industry realities.

Glad to hear such a full palette from Tyler - I know he is capable to do much more than the endless homogeneous banging that his action scoring has devolved into.

Still mystified by why the Race Against the Sunset cue was omitted from the original CD. It was the most obvious highlight missing from an already generous album. Getting Kilar to score the film was an absolutely brilliant move by Coppola. Not surprising that Jackson explored getting him to do LOTR with Shore's score exhuding some of those dark earthly tones as well

Need to get this for some of the Goodwin stuff - the potato sack set piece music with the piccolo was astonishing, if I remember correctly

It's the least of JG's Verhoeven scores but that is a high bar to attain in any case. The main theme is a gem as is the Isabella music, but I do find the crash-bang-wallop action a bit too uncoordinated. Which is strange since Jerry's crash-bang-wallop, especially in the 1990s, was so clearly detailed and structured. I should give the score another listen but was not massively impressed back in 2000.

Knife Fight is an amazing track - brings back that old Horner/Don Davis scoring with full on snare drum and anvil percussion.....

Quiqley Down Under: Selleck dealt with the Australian genocide of aboriginales a week before Costner cast his happy white saviour net on it in the the US context Both are terrible examples of white saviour narratives in the old 'transcontinental' west. They all have brilliant scores. Let's focus on those. These are white men interpreting attacks from 'Indians' - they are historical documents of enslavement, corruption, colonialism and exploitation. And that is why the only thing that works here is listening to an ironic interpretation of fascism (but one that is arguably too good in sounding fascistic): An anthem for Hitler or an ironic self aware piss-take

Man, the Young here is idiosyncratic and so creative, the harmonica is a Young touch.

Enough said - one of the greatest action scores ever.....

Thanks man. What happened there? But isn't the whole point of finales to up the ante hence increase the volume of the score etc.....Hence, I give you this marvellous piece of scoring from Robin Hood, 1991, not heard anywhere before in the film (because Don Davis was ghostwriting) And on that topic another Don Davis favourite, Clear and Present Danger. The mayhem here was certainly not part of a very controlled Horner score:

I do love illustrating the greatness of these composers through examples. Why not? And yes, his personal posts are a bit, shall we say, problematic. But he still composes this, and he is not exactly fucking Jon Voight is he:

Still think Carol is just Philip Glass and Hours.....

Checking out the composer, very interesting.....fantastic use of string textures: So they clearly have orchestral experience

One of the greatest scores of the 80s: The flute work on this track was embellished in my young mind as the gold standard, just astonishing work, sorry can't find the track, works even more efficiently with the imagery from the film:

This thread was invented for the 1991 Patrick Doyle choral action masterpieces. Dead Again is probably one of the earliest examples of where a composer ups the game massively by accompanying his music with chorals. See Duel of the Fates but 8 years earlier. Can't find the individual track but from 25:09 onwards, starts with the normal score but then trancends into bombastic great madness: Hunter Tech - fascinated by this quote: In fairness, Zanelli is only credited solo for 2 small variants on the cuesheet (1m05-07, 9m88B), as the big track here (primarily 8m88A) is a collaboration with Zimmer and Ann Marie Simpson. Of course, it sounds fairly samey each time, and the film itself probably doesn't help by only crediting Zanelli (in presumably more of a source context), but hey at least everyone seems to have gotten their fair dues here. I also adore this track - it is truly brilliant music. Always thought it was full Zanelli with Zimmer's theme but if that is not the case, what do you mean 8m88A, what is that exactly? Fascinated!! Apologies, not sure what happened with the site! All I want to flag up is that Patrick Doyle was literally invented for this - to come up with a massive version at the end of his scores often using voices to accentuate his work. Dead Again is a great example of this. It's Herrmann on Speed as Doyle himself described it in London once, but the addition of a chorus makes it bonkers awesome. You should find an example from 22:50 below:

Still can't believe that fanboys in 2002 thought that Spiderman did not have a theme.....wtf. One of the most hilarious things ever. Now we have Balfe vomiting all over Black Adam with some 'chord progressions'.

Totally agree that Hollow Man is underappreciated - it's a beautiful score and has some of the most creative Jerry uses of synth (that breathing) . And yes, the mayhem in the second half gets a bit much - it has not got the cohesive systemic logic that Total Recall action had, for example. It seems more incidental which is unusual for Jerry, but his real life conditions might have had a role. Still a wonderful score.

Man, if you knew your Young well you'd know that many of the chord progressions and harmonic ideas in that track are total Young since, at the very least Flowers in the Attic from 1987, from 2:00 below

If anyone doubts Young can still ace it:

The score is actually really good in the show. The opening titles are the usual synth farty post-Jablonski stuff but the rest of the score is beautifully traditionally Elfmanesque - too busy, always melodic, a bit annoying, but invariably beautiful.

Jesus, the guy composed this music for a cheap-arse Chuck Norris actioner: he should have been composing fucking Star Wars. The score is some of the best orchestrational action music I have heard - simply the woodwind section is astonishing. The way the winds carry the action is amazing:

Yo, wampa, sure - what did you think of Elfie's March of the Dead:

Fair enough, Yavar. I'm not a Bond fan, so I like those Arnold touches that are non-Bondy for one. But I respect Kamen as a composer so any opportunity for him to do different, sure.....But, he's Michael Kamen. He does not change the hair too often does he. We have: Potentially composed by Boardman and others..... And this Potentially composed by Davis and others....

Most amazing minimalist mayhem - Glass' Itaipu choral and orchestral symphony, since used in the marketing of Frankenstein for being as bombastic as music can ever be. https://www.youtube.com/watch?v=GFaY7r73BIs I loved the trailer - it is so crazy to be amazing. Then I loved Doyle's orchestral score that is similarly wild and mental: Even Doyle could not meet these heights of excessive orchestral destruction, so we get to gentle Glass:

Gabriel, for some reason, can't hear your examples but do they sound like this: If they do, it is all very intentional. Williams, Davis etc are very explicit about referencing Adams as there is an intellectual and creative connection between their work. Hey, how about this as the opening to the Matrix